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STRONGHEART 


Bn   Hmerican   ComcOfi   Drama   In  ffour   Hcts 


BY 

WILLIAM   C.   DE  MILLE 


COPYRIGHT,  1909,  BY  WILLIAM  C.  DE  MILLE 


ALL  RIGHTS  RESERVED 


CAUTION. -Amateurs  and  Professionals  are  hereby  warned  that 
"STRONGHEART,"  being  fully  protected  under  the  copyright  law* 
of  the  United  States,  is  subject  to  royalty,  and  any  one  presenting 
the  play  without  the  consent  of  the  author  or  his  authorized  agent 
will  be  liable  to  the  penalties  by  law  provided.  AH  application* 
for  amatiur  performances  of  "STRONGHEART"  must  be  made  to 
SAMUEL  FRENCH.  28-30  West  38th  St.,  New  York. 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHER 

28-30  WEST  38TH  STREET 


LONDON 
SAMUEL  FRENCH,  LTD. 

26  SOUTHAMPTON  STREET 
STRAND 


Theater  Arts 
Libr 


1101 
STRONGHEART. 


CHARACTERS. 

NOTE: — In  the  following  cast  the  characters  are 
named  in  the  order  in  which  they  first  appear. 

TAYLOR,  a  sophomore. 

Eoss,  a  freshman. 

READE,  a  "  grind." 

THOBNE,  a  Special. 

FEED  SKINNER,  a  sport. 

FRANK  NELSON,  a  Senior. 

DICK  LIVINGSTON,  a  Junior. 

"  BILLY  "  SAUNDERS,  a  Senior  (by  courtesy) 

SIEGFRIED,  a  Mascot. 

SOANGATAHA,  known  as  "  Strongheart ",  a  "  P.  G." 

MRS.  NELSON,  Frank's  mother. 

MOLLY  LIVINGSTON,  Dick's  sister. 

BETTY  BATES,  Molly's  chum. 

MAUD  WESTON,  Molly's  chum's  friend. 

DOROTHY   NELSON,   Frank's  sister. 

NASH,  a  back. 

TAD,  a  rubber. 

JOSH,  a  trainer. 

BUCKLEY,  head  coach,  a  "  grad." 

FARLEY,  manager  of  the  visiting  team. 

BUTLER,  at  Nelson's. 

BLACK  EAGLE,  a  messenger. 

Fifteen  extra  men  for  members  of  team  and  sub- 
stitutes in  second  act.    Seven  used  in  last  act. 

NOTE: — The  parts  of  NASH  and  TAYLOR  may  be 
combined. 


Theatre  Arts 
Library 

STKONGHEABT.  3 

COSTUMES. 

TAYLOR — ACT  I  and  IV — Sack  suit — cap.  ACT 
II — Football  uniform.  ACT  III — Evening  dress. 

Ross — ACT  I  and  IV — Sack  suit — cap.  ACT  II — 
Football  uniform.  ACT  III — Evening  dress. 

KEADE — ACT  I  and  II — Sack  suit — badly  fitting — 
spectacles.  ACT  III — Evening  dress — badly  fitting. 

THORNE — ACT  I  and  IV — Sack  suit — cap.  ACT 
II — Football  uniform.  ACT  III — Evening  dress. 

SKINNER — Business  suit— rather  loud  colors — 
Derby  hat. 

FRANK — ACT  I  and  IV — Sack  suit — cap.  ACT  II 
Football  uniform.  ACT  III — Evening  dress. 

DICK — ACT  I  and  IV — Sack  suit — cap.  ACT  II — 
Football  uniform.  ACT  III — Evening  dress. 

BILLY — ACT  I — Sack  suit  and  cap.  ACT  II — 
Football  uniform.  ACT  III — Evening  dress.  ACT 
IV — Sack  suit,  cap  and  white  sweater. 

STRONGHEART — ACT  I  and  IV — Sack  suit  and  cap. 
— ACT  II — Football  uniform. — ACT  III — Evening 
dress. 

MRS.  NELSON — Afternoon  dress  and  hat. 

MOLLY — ACT  I — Afternoon  dress  and  hat.  ACT 
III — Evening  dress.  ACT  IV — Walking  dress. 

MAUD  and  BETTY — ACT  I — Afternoon  dress  and 
hat.  ACT  III — Evening  dress. 

DOROTHY — ACT  I — Afternoon  dress.  ACT  III — 
Evening  dress.  ACT  IV — Simple  afternoon  dress — 
without  hat. 

NASH — ACT  II — Football  uniform.  ACT  IV — Sack 
suit. 

TAD  and  JOSH — Old  trousers  and  plain  sweaters — 
caps. 

BUCKLEY — Sack  suit,  long  light  overcoat — soft 
hat. 

FARLEY — Sack  suit,  long  light  overcoat — soft  hat. 

BUTLER — Black  coat  and  trousers. 


4  STRONGHEAKT. 

BLACK  EAGLE — Blue  sack  suit,  flannel  shirt,  moc- 
casins. Loose  red  tie.  Broad-brimmed  felt  hat. 
Long  hair — falling  under  his  coat. 

ACT  I. — Rooms  of  FRANK  NELSON  and  DICK  LIV- 
INGSTON, at  Columbia. 

ACT  II. — Two  days  later.  Dressing-room  of  the 
Columbia  foot-ball  team  at  the  Polo  Grounds. 

ACT  III. — Evening  of  the  same  day.  Library  in 
the  home  of  the  NELSON'S. 

ACT  IV.— The  next  day.    Same  as  ACT  III. 

PLACE.— New  York  City. 
TIME.— The  present. 

SIDE  PROPERTIES  OFF  STAGE. 

B.  1  E. — One  large  coffee  pot.  One  brightly  colored 
6lean  shirt.  One  large  white  wash  basin.  Two 
large  tablespoons. 

fi.  3  E. — Two  books  in  strap.  (THORNE)  Several 
packages,  crackers,  etc.  (FRANK)  Package  of 
six  coarse  white  cups  and  saucers.  (DiCK) 
Dachshund,  tied  with  blue  and  white  ribbons. 
(BILLY)  Large  pile  of  packages,  crackers,  etc. 
(Ross)  One  large  paper  bag  of  tea.  (TAYLOR) 
Samovar.  (  READE)  . 

L.  3  E. — Bedroom  pitcher  of  hot  water. 

Three  envelopes  with  enclosures  supposed  to  be 
signals  for  THORXE,  DICK  and  FARLEY.  FAR- 
LEY'S should  look  as  if  it  had  been  through  the 
mail. 


STRONGHEART. 


ACT  I. 

SCENE: — Room  of  FRANK  and  DICK  at  Columbia. 
A  typical  college  room  furnished  in  bright  colors. 
Door  to  FRANK'S  room  R.  1  E.  Door  to  nail 
R.  3  E.  facing  down  stage.  Door  to  DICK'S  room 
and  study  L.  3  E.  Large  bay  window  at  back  c. 
On  curtain  pole  hang  three  brightly  colored 
ladies'  stockings,  hung  so  they  tmay  be  taken 
down  easily.  Window  seat  filled  with  blue  and 
white  cushions.  A  book  on  the  seat  also.  Large 
box  couch  and  cushions  down  R.  C.  Square  flat 
top  desk  with  papers,  pen  and  ink,  poker  chips, 
copy  of  "'Columbia  Spectator,"  books  and  gen- 
eral litter.  Practical  drawer  on  R.  side  of  desk, 
down  stage.  Desk  is  L.  c.  near  curtain  line. 
Piano  and  stool  L.  1  E.  Music,  two  champagne 
bottles  tied  with  blue  and  white  ribbons,  an  old 
dirty  foot  ball  and  other  decorations.  A  chair 
R.  of  desk  and  back  of  it.  Another  desk  of  dif- 
ferent shape  below  R.  1  E.  A  table  knife  on  it. 
Mantel  and  fireplace  above  door  R.  3  E.  A  "  dol- 
lar clock  "  on  mantel  set  at  23  minutes  to  five  at 
rise.  Hat-rack  below  it.  Rugs  on  floor.  Cur- 
tains at  window.  Photographs,  pictures,  Colum- 
bia banners,  general  athletic  trophies,  football 
posters,  American  Indian  curios,  warbonnets, 
etc.,  decorative  pictures,  signs,  girls'  photos  on 
mantel  and  watts,  aH  in  good  taste.  Bookcases 
in  upper  left  hand  corner.  A  pair  of  lady's 
5 


6  STRONGHEART. 

slippers  and  general  junk  on  top,  a  guitar  lean- 
ing against  the  bookcases  and  six  decorated  plates 
on  shelf. 

Overture  "  STRONGHEART "  by  Theodora 
Bendix.  Plays  five  minutes.  House  down  on 
second  occurrence  of  "  Indian  dance."  Curtain 
up  just  before  end  of  overture.  Act  runs  thirty 
minutes.  Curtain  rises  on  empty  stage.  After 
a  pause  TAYLOR  is  heard  calling  off. 

TAYLOR.  0  Frank !  Hello  Frank !  0  Fra-a-ank ! 
(enters')  Frank!  I  wonder  where  they  are.  (goes  to 
R.  1  and  looks  in)  Frank  are  you  there?  (crosses 
to  door  L.  3)  0  Dick!  (going  down  stage)  Not 
back  yet.  (crosses  below  desk  and  picks  up  copy  of 
"  Spectator  ")  Hello,  "  Spec  "  's  out  (sits  R.  of  desk 
and  reads.  Feet  up  on  desk) 

Ross,  (calling  outside)  Oh,  Nelson!  (enters  R. 
3.)  Oh — hello,  Taylor,  (cross  down  to  TAYLOR) 

TAYLOR,     (not  looking  up)     Hello,  Freshie. 

Ross.    Nelson  in  ? 

TAYLOR.  Nope.  He  and  Dick  went  off  to  buy 
grub  for  this  tea  effect.  Guess  they  haven't  got  back 
yet. 

Ross.  Oh!  (crosses  and  sits  on  couch)  Say,  I 
hear  Dick  Livingston's  sister  is  quite  a  ripper. 

TAYLOR,     (deep  in  paper)     Um-m-m-m — . 

Ross.  (making  another  effort  at  conversation) 
Buckley  gave  us  some  pretty  hard  play  to-day,  didn't 
he? 

TAYLOR,     (shortly)    Nope. 

Ross,  (rising  and  crossing  to  him,  exasperated) 
Well,  what  do  you  call  hard  play,  anyhow? 

TAYLOR,  (looking  up,  hot)  Say,  Freshie,  don't 
you  know  enough  to  not  talk  to  a  man  when  he's 
reading  football  news? 

Ross.    But,  I  just  wanted  to 

TAYLOR.     Oh,  shut  up.    I'm  busy. 


STRONGHEART.  7 

(Ross  crosses  and  sits  on  couch  very  subdued.    Enter 
R.  3,  READE,  a  small  man  and  a  typical  grind.) 
&EADE.     (crossing  down  c.)     Is  Frank  here? 

TAYLOR,  (with  an  air  of  resignation)  No,  he 
isn't,  (starts  to  read  again) 

READE.  Oh !  He  asked  me  to  come  over  early  and 
help  get  things  ready  for  the  girls,  (to  Ross)  How 
long  has  practice  been  over? 

Ross.    About  half  an  hour. 

READE.  (crossing  down  L.  of  desk}  I  didn't  think 
the  coach  would  let  you  fellows  take  in  things  like 
teas,  with  the  big  game  only  two  days  off. 

(Pushes  TAYLOR'S  feet  off  desk.  TAYLOR  makes  a 
"  swipe  "  at  him  with  paper.  READE  straightens 
things  at  desk.) 

Ross.  0  Buckley's  all  right.  He  said  we  could 
come  if  we  didn't  eat,  drink  or  smoke. 

READE.  Well,  I  never  could  see  how  grown  men 
could  give  up  so  much  just  to  roll  around  in  the  mud 
with  a  piece  of  pigskin. 

Ross.    Well,  it's  because 

TAYLOR.  (slamming  down  his  paper)  Say, 
Reade,  you  make  me  tired.  You  know  perfectly  well 
that  when  the  game  comes  off,  you'll  be  up  in  the 
rooter's  stand  screaming  yourself  blue  in  the  face  for 
Columbia. 
Columbia,  (imitates  action  of  giving  ^Columbia  yell) 

READE.    Oh,  I  like  to  see  the  old  college  win. 

TAYLOR.  You  bet  you  do.  And  then  you  come 
here  looking  sanctimonious  and  you  preach  on  the 
evils  of  athletics.  But  you'd  better  not  do  it  this 
afternoon,  that's  all.  (READE  starts  to  say,  "  why  " 
and  crosses  slowly  to  c.)  Because  every  man  here 
will  be  a  football  man  from  Frank,  the  Captain  of 
the  team,  down  to  that  little  Freshie  substitute  over 
there  on  the  sofa. 


8  STRONGHEART. 

(Ross  sat  upon  again  puts  his  head  down  among  the 
cushions  and  his  feet  up  on  the  up  stage  end  of 
the  couch.) 

Ross.  I  heard  Strongheart  tell  Frank  he'd  be 
over. 

READE.      (interested)     What,  that  Indian  chap? 

TAYLOR.  Well,  you  can  just  bet  Frank  and  Dick 
wouldn't  have  any  sort  of  a  kick-up  unless  Strong- 
heart  was  in  it. 

Ross.    Why,  it's  a  Damon  and  two  Pythiases. 

READE.  (shocked  at  his  break)     Pjthice. 

TAYLOR.    The  boys  call  'em  the  Siamese  Triplets. 

READE.  (crossing  to  couch)  Well,  what  makes 
them  so  thick  anyhow?  (pushes  Ross's  feet  off 
couch,  brushes  place  and  sits) 

TAYLOR.  Oh,  the  Indian  saved  Frank's  life,  or 
did  some  such  melodramatic  stunt  out  west  three 
years  ago.  He's  a  Carlisle  grad.  you  know. 

READE.  He  seems  to  be  a  very  intelligent  fellow. 
They  say  he  knows  an  awful  lot  of  Pol.  Econ. 

TAYLOR.  Pol.  Econ.  be  blowed.  He  knows  an 
awful  lot  of  football  and  tliat's  what  counts. 

READE.  (rising  and  crossing  to  him,  arguing) 
Now,  I  don't  agree  with  you.  A  fellow  doesn't  come 
to  college 

TAYLOR.  (hitting  him  on  the  arm  with  the 
"  Spec."}  Oh,  all  right,  all  right.  But  for  Heaven's 
sake  don't  get  started  on  that  tack. 

THORNE.  (entering  R.  3.  Puts  hat  and  books  on 
rack  and  crosses  to  c.)  Hello,  boys,  I've  got  a  mes- 
sage for  you. 

TAYLOR  and  Ross.     Hello,  Thorne. 

THORNE.  Frank  and  Dick  are  coming  right  over. 
(slaps  READE  on  back)  They  sent  me  on  ahead  to 
ask  you  chaps  to  run  down  the  steps,  (takes  paper 
•from  TAYLOR  and  slams  it  on  desk)  and  get  some 
English  breakfast  tea  and— er— some  delicatessen 
things,  you  know,  appetizer  stuff — caviar  and  all  that 


STEONGHEAET.  9 

track,     (putts  out  EEADE'S  tie  and  crosses  down  L  of 
desk) 

Eoss.    Gee,  they've  got  a  nerve ! 

(EEAEE  turns  and  looks  at  Eoss.) 

TAYLOR.    Shut  up  Freshie ! 

THORNE.  (sitting  on  desk,  looking  at  "Spec") 
Oh,  and  they  want  one  of  you  to  go  over  to  Barnard 
and  borrow  a  samovar. 

TAYLOR,  (rising  and  crossing  to  EEADE)  All 
right!  Hey  Eeade  (slaps  him  on  back)  you  run 
with  the  Barnyard  fowls,  it's  up  to  you.  (turning 
him  toward  door) 

EEADE.  H'm — there's  nothing  like  making  your 
guests  work. 

TAYLOR.     Well,  why  didn't  you  stay  home,  then? 

EEADE.  (going)  Oh,  I'm  not  grumbling,  I'll  go. 
(goes  to  R.  3,  slowly.  Stops  at  pipe  rack  and  straight- 
ens pipes) 

TAYLOR.  Now  don't  stay  too  long.  We  want  that 
thing  back  before  five  o'clock. 

EEADE.     All  right,     (exits  slowly  R.  c.) 

THORNE.  By  the  way  boys,  did  you  hear  about 
Strongheart  ? 

TAYLOR  &  Eoss.     (anxiously)     No.    What? 

THORNE.  The  doctor  says  that  tendon  of  his  is 
all  right  again,  and  he  can  play  in  the  Thanksgiving 
game. 

Eoss.     (jumping  up)     Gee  that's  great! 

TAYLOR,  (jubilantly)  Thank  the  Lord!  If  he 
plays  behind  the  line  it's  our  game!  (to  Eoss) 
Next  to  Dick  Livingston  he's  the  best  back  in 
America. 

Eoss.     (crossing  to  him)     Still  it  seems  to  me 

TAYLOR,  (grabbing  him.  by  shoulders  and  taking 
him  up  R.  3)  Shut  up  Fresh,  come  on  and  get 
those  things. 


10  STKONGHEAKT. 

(ENTER  SKINNER  R.  3.) 

SKINNER,     (in  door)     Is  Mr.  Thome  here? 
TAYLOR.    Yes,  Thome,  someone  to  see  you. 

(TAYLOR  and  Eoss  bow  very  obsequiously  and  exit 
laughing  quietly.    SKINNER  crosses  toward  c.) 

THORNE.  (crossing  to  SKINNER)  Why,  Skinner, 
(shaking  hands  and  passing  on  to  R.  3)  what  are  you 
doing  up  here?  (looks  out  door  and  then  closes  it) 

SKINNER.  I've  been  chasing  you  from  one  end 
of  this  joint  to  the  other  for  half  an  hour.  Then 
they  told  me  you  were  here. 

THORNE.     (R.  c.  above  couch)     Well,  what's  up? 

SKINNER.  Well,  you  and  I  are  in  a  pretty  bad  fix. 
Haven't  you  heard  the  news  from  the  enemy's  camp  ? 

THORNE.    No.    What  is  it  ? 

SKINNER,  (up  c.)  Warren's  laid  up  with  a  bad 
leg,  and  the  result  is  that  the  odds  have  swung  around 
to  five  to  three  on  Columbia. 

THORNE.  (startled)  And — have  you  put  the 
money  all  up? 

SKINNER.  Every  red  cent!  (TIIORNE  moves 
down  c.)  You  told  me  that  Columbia  had  no  chance 
to  win.  That  it  was  a  sure  thing  to  bet  against  her. 
So  I  not  only  put  up  all  your  dough,  but  a  big  wad 
of  my  own.  (crossing  down  to  THORNE)  Why  the 
devil  did  you  give  me  that  tip,  if  you  weren't  sure? 

THORNE.  I  was  sure,  (crosses  to  L.  c.)  But  I 
couldn't  count  on  their  best  man  being  laid  up.  It's 
worse  than  that  now — Strongheart's  going  to  play 
Thursday. 

SKINNER.  What  are  you  going  to  do?  Can  you 
get  any  cash  to  hedge? 

THORNE.  No.  Every  cent  I  could  borrow  is  up  on 
the  game  now.  If  Columbia  wins,  I  shall  be  filling 
the  interesting  position  of  a  ruined  man.  Sounds 
quite  imposing,  doesn't  it? 


STRONGHEART.  11 

SKINNER,  (sitting  on  couch  and  talcing  out  cigar- 
ette) I'll  be  pretty  hard  hit  myself. 

THORNE.  (crossing  to  SKINNER)  Look  here 
Skinner,  suppose  I  guarantee  that  Columbia  won't 
win.  Will  you  put  up  another  thousand  on  my  ac- 
count ? 

SKINNER,  (looking  at  him  hard)  What  sort  of  a 
guarantee  can  you  give  me  ? 

THORNE.  (taking  letter  from  pocket)  These  are 
the  signals  we  are  going  to  use  in  Thursday's  game. 

SKINNER,  (rising  and  speaking  abruptly)  You're 
going  to  send  that  list  to  Farley,  the  manager  of  the 
other  team? 

THORNE.  Now  don't  get  excited.  It's  our  only 
chance.  If  they  know  our  signals,  Columbia  can't 
possibly  win.  (crosses  to  desk) 

SKINNER.  If  I  were  a  college  man,  I'd  see  myself 
ruined  and  damned  too,  before  I'd  do  a  dirty  trick 
like  this,  to  win  a  few  thousand. 

THORNE.  (crossing  to  SKINNER,  mad)  Look 
here,  Skinner,  don't  you  suppose  it's  hard  enough  for 
me  to  do  this  without  you're  rubbing  it  in?  (trying 
to  justify  himself)  I  didn't  mean  to  go  in  so  far,  but 
I  can't  back  out  now.  Besides  you  know  I'm  not 
doing  it  for  the  money,  (crosses  to  desk) 

SKINNER.  Yes,  I  know.  You're  just  doing  it  be- 
cause Farley  will  feel  so  bad  if  he  loses,  (sits) 

THORNE.  (crossing  up  to  window)  No,  I'm  doing 
it  because,  well,  because  I  have  reasons. 

SKINNER,  (businesslike)  You'll  have  to  be  a 
little  more  definite  than  that,  if  I'm  going  to  give 
you  a  thousand  on  the  strength  of  those  reasons. 

THORNE.  (crossing  to  desk,  leaning  on  back  of 
chair)  Well,  then  I'll  tell  you.  You  know  Dick 
Livingston  ? 

SKINNER.    Your  right  half  back?    Yes. 

THORNE.  Well,  he  happens  to  think  a  good  deal  of 
a  young  lady  in  whom  I'm  very  much  interested. 

SKINNER.    I  bet  it's  that  Nelson  girl 


12  STEONGHEAET. 

THORNE.  (shutting  him  off  quickly)  Perhaps. 
When  I  saw  that  he  was  seriously  interfering  with  the 
progress  of  my  affair,  I  waited  for  my  chance,  which 
came  the  other  night  in  the  shape  of  a  game  of  poker. 
When  we  broke  up  he  owed  me  three  thousand  dol- 
lars. He  didn't  have  the  money  to  pay  it,  so  I  per- 
suaded him  to  borrow  three  thousand  more  from 
different  fellows  and  put  it  up  on  the  game. 

SKINNER.  Oh,  I  see.  Of  course  he's  backing  Col- 
umbia ? 

THORNE.  That's  the  game.  I  sent  him  to  see  you. 
Is  his  money  up  yet? 

SKINNER.    No.    It'll  go  up  this  afternoon. 

THORNE.  Good.  Then  when  Columbia  loses  he'll 
be  six  thousand  dollars  in  the  hole  and  as  he  can't 
it,  he'll  have  to  leave  college,  (crosses  up  to  win- 


SKINNER.    Leaving  the  field  clear  for  you. 

THORNE.  (crossing  down  to  SKINNER)  Yes.  So 
now  you  see  why  Columbia  mustn't  win.  (crosses  to 
desk) 

SKINNER,  (rising)  Yes,  I  see.  My  boy  I've  never 
worked  a  crooked  deal  in  my  life,  but  if  you  want  to 
make  a  fool  of  yourself,  I'd  be  an  ass  not  to  make 
something  out  of  it. 

THORNE.  (a  little  anxiously)  Then  you'll  fix 
that  extra  thousand  for  me? 

SKINNER,     (after  thinking)     Sure. 

THORNE.  (relieved,  speaking  lightly)  All  right. 
Here  are  the  signals,  (crosses  and  starts  to  hand 
them  to  SKINNER.  Then  holds  them  back)  Wait,  I 
guess  I'd  better  mail  these  myself,  then  they  won't  go 
astray,  (crosses  to  desk) 

SKINNER.  Just  as  you  like,  (starts  up  stage  to 
door)  Well,  I've  got  to  cut  if  I  expect  to  get 
Livingston's  money  up  to-day.  (FRANK  heard  whist- 
ling "  Faculty  Song  "  off  R.  3.  THORNE  moves  up  to 
window)  I  said  I'd  telegraph  him  when  it  was  fixed. 
So  long. 


STRONGHEART.  13 

THOENE.     (looking  at  book,  at  window)     So  long, 

(Enter  FRANK  carrying  several  packages  of  uneedas 
and  zuzus.  He  wears  a  "  C  "  sweater  over  his 
coat.  The  body  of  the  sweater  over  his  back  the 
"  C  "  showing,  the  sleeves  tied  around  his  neck. 
Also  wears  a  "  C  "  cap.  Stands  above  couch 
facing  SKINNER  waiting  for  him  to  go.) 

SKINNER,  (embarrassed)  How  are  you,  Captain ? 
How's  the  team? 

FRANK,     (coldly)    All  right,  thank  you. 

SKINNER,  (more  embarrassed)  Well,  I'm  off. 
Be  good,  boys,  (exits  R.  3) 

FRANK.  What's  that  chap  Skinner  doing  here, 
Ralph? 

THORNE.  (still  looking  at  book)  Oh,  he  followed 
me  up  here.  He  wants  me  to  put  up  some  money  on 
Columbia. 

FRANK.    Did  you  do  it? 

THORNE.    No. 

FRANK.  That's  the  cheese,  (crossing  to  desk 
speaking)  I  haven't  any  use  for  an  athlete  who  bets 
on  the  game  he's  playing  in.  (looks  at  clock  on 
mantel)  Great  Caesar's  Ghost !  It's  quarter  of  five. 
We'll  have  to  hustle  up  to  get  things  ready  by  the 
time  those  girls  come.  Here,  fix  these  on  plates  will 
you?  I've  got  to  look  for  the  tea  pot.  (runs  to  R.  1) 

THORNE.    Where  are  the  plates ! 

FRANK.  Top  shelf  of  my  book  case,  next  to  Cicero. 
(exits  R.  1) 

(THORNE  gets  plates  and  takes  them  to  desk.    FRANK 
enters  immediately.) 

FRANK,  (holding  up  a  big  tin  coffee  pot)  I  guess 
this  is  a  coffee  pot.  But  it'll  have  to  do.  (smells  it) 
Gee  whiz,  I  forgot.  I  lent  it  to  Tommy  Nash,  and 
he  didn't  wash  it.  (smells  it  again)  He  used  it  for 


14  STROXGHEART. 

beer.  It's  got  to  be  washed,  (putts  up  sleeves}  Say, 
it's  great  that  Strongheart  can  play  Thursday,  isn't 
it.  With  him  and  Dick  behind  the  line  we  ought 
to  win  out. 

THORNE.    Yes,  we  ought  to. 

DICK,     (calling  off  R.  3)     Oh,  Frank. 

FRANK.    Hello. 

DICK.     Are  you  upstairs? 

FRANK.  Yes.  Hurry  up.  (to  THORNE)  Here 
comes  Dick.  I'll  just  leave  these  things  to  him.  He 
has  an  artistic  eye.  (enter  DICK  carrying  package 
of  six  large  coarse  cups  and  saucers)  Did  you  get 
the  cups,  Dick? 

DICK,  (crossing  down  c.)  Yes.  These  are  the 
best  I  could  get  though  without  going  way  down 
town.  They're  sort  of  cheesy,  aren't  they?  (crosses 
and  sits  on  sofa.  Holds  up  one  of  the  cups) 

FRANK.  Oh,  they'll  do.  The  girls  won't  expect 
much  delicate  stuff  up  here.  Just  help  Ralph  fix 
things  up,  while  I  scour  this  darned  thing,  (exits 
E.  1) 

DICK,     (unwrapping  china)     All  risrht,  old  man. 

THORNE.  (at  top  of  desk)  Well,  Dick,  I  see  the 
odds  favor  Columbia  to-day. 

DICK.  Yes.  But  gee  whiz  I  was  a  sad  ass  to  let 
you  take  that  three  thousand  off  me. 

THORNE.  Oh,  there's  not  the  slightest  hurry  about 
it. 

DICK,  (stacking  cups  in  his  arm)  If  you  knew 
my  old  man  you  wouldn't  say  that.  He  says  he 
doesn't  mind  paying  a  few  thousands  for  breaking  up 
a  freshman  dinner,  or  bailing  me  out  when  I  get 
pinched,  (crosses  to  desk  with  cups  and  saucers) 
But  he's  put  his  number  10  and  a  half  D  down  hard 
when  it  comes  to  gambling,  (puts  down  saucers  on 
word  "hard."  Cups  down  during  following  speech) 
He  says  if  that's  all  I  can  learn  at  college,  the  sooner 
I'm  out  of  it  the  better. 


STEONGHEAET.  15 

THORNE.  (dropping  poker  chips  in  box)  Can't 
you  call  the  bill  "Athletic  Expenses?" 

DICK,  (decidedly)  No.  I'm  going  to  play  fair. 
If  the  jig's  up  why  then  it's  time  to  stop  dancing. 
But  don't  say  anything  to  Frank  about  it,  I  don't 
want  him  to  know  what  a  chump  he's  got  for  a  room- 
mate. 

(THORNE  reassures  him.) 

FRANK,  (entering  rubbing  coffee  pot  with  shirt) 
Say  old  man,  there  isn't  a  spare  towel  in  the  place 
so  I  borrowed  a  clean  shirt  from  you. 

DICK,  (rising)  What!  Oh,  all  right,  (crosses 
toe.) 

FRANK.  Say,  have  you  got  that  list  of  signals  for 
Billy  Saunders? 

DICK,  (taking  signals  from  inside  poclcet)  Yes, 
here  they  are.  (THORNE  at  first  mention  of  signals 
moves  up  to  window  and  watches  closely  where  DICK 
puts  signals)  I'll  leave  them  here  for  him?  (puts 
in  drawer  of  desk.  'Closes  drawer) 

FRANK.  We'll  never  be  ready  by  five,  it's  four 
minutes  of  now.  Hurry  up  and  dress  and  let  Ealph 
fix  things  up. 

(FRANK  exits  R.  1.  DICK  crosses  to  couch,  gets  hat 
and  wrapping  paper  and  exits  L.  3,  humming. 
When  they  are  off  THORNE  comes  quickly  down 
to  desk  and  takes  his  list  from  his  pocket  and  ex- 
changes it  for  DICK'S,  puts  his  list  in  drawer  and 
DICK'S  list  in  his  pocket.) 

THORNE.  (while  changing  signals)  Dick's  to 
Farley,  mine  here.  Now  if  anything  happens  it's  up 
to  Dick.  What  luck,  by  Jove,  what  hick. 

BILLY.  (outside)  Hello  you  yaps  in  there 
(THORNE  slams  drawer  and  sits  on  desk)  is  it  time 
for  the  pampered  guests  to  arrive?  (enters  R.  3. 


16  STKONGHEABT. 

7s  a  big  man  and  has  a  dachshund  tied  with  blue  and 
white  ribbons  on  a  leash.  Crosses  to  c.)  Hello, 
Thome. 

THOENE.    Hello  Billy. 

BILLY,  (crossing  to  L.  3.,  looking  in.  Starts  back 
hand  before  face,  apparently  shocked.  THORNE 
crosses  to  fireplace)  Hello,  Venus,  where  are  those 
signals  ? 

DICK.     Top  drawer  of  my  desk,  Billy. 

(THORNE  watches  closely.) 

BILLY,  (crossing  down  to  drawer  in  desk  and  get- 
ting signals)  Aye,  aye,  sir. 

FRANK,  (calling  from  off  R.  1)  You  ought  to  be 
at  meetings,  Billy.  It's  a  bad  plan  to  write  out  sig- 
nals on  paper. 

BILLY.    I  couldn't  help  it,  talk  to  the  faculty. 

DICK.    Have  you  got  'em? 

BILLY,  (looking  at  envelope  and  putting  it  in 
pocket)  Yes.  Many  thanks.  (THORNE  crosses  to 
hatrack  and  gets  hat  and  books)  Down  Siegfried. 
Keep  off  my  pants. 

THORNE.  (crossing  to  c.,  relieved)  Say  Billy,  I 
haven't  washed  up  yet,  just  tidy  things  up  a  bit,  will 
you?  See  you  later  boys,  (exits  R.  3.) 

FRANK.    All  right 

DICK.     So  long. 

BILLY,  (crossing  up  c.)  Say,  look  how  Siegfried 
if  dressed  up  for  the  party. 

FRANK,  (entering  R.  1,  putting  on  tie)  Hey, 
Billy,  you  can't  keep  that  pup  in  here. 

BILLY.    Can't,  eh?    Why  not? 

FRANK.    There  are  going  to  be  ladies  here. 

BILLY.  My  Lord,  I  know  that.  That's  just  the 
reason  I  brought  him  over.  All  he  needs  is  the  re- 
fining influence  of  feminine  society. 

FRANK.     Oh,   well,   put  him   in  here.      (BILLY 


STRONGHEART.  17 

starts  for  R.  1.)  No.  Put  him  in  Dick's  room. 
(BILLY  crosses  to  L.  3.  FRANK  exits'*.  1.) 

DICK,  (coming  to  door)  No  you  don't.  I  don't 
want  the  ratty  pup  in  here,  (exits) 

BILLY.  I'll  bet  he's  the  most  intelligent  guest 
you've  got  all  right,  all  right,  (puts  pup  in  L.  3., 
without  going  off) 

DICK.  Come,  hurry  up  you  lazy  loafer,  you've  got 
to  make  the  tea  or  something. 

BILLY,     (crossing  to  c.)     Where  is  the  tea? 

FRANK,  (off  R.  1)  By  Jove,  those  dubs  haven't 
come  back  yet. 

DICK,  (entering,  crossing  down  to  top  of  desk 
without  coat  and  vest,  his  sleeves  rolled  up)  Say 
Frank,  how  about  a  punch  bowl? 

FRANK,  (entering  R.  1,  with  wash  basin.  No  coat 
or  vest)  Oh,  I  suppose  the  usual. 

BILLY,  (c.)  What  are  you  talking  about?  You 
can't  use  that  wash  basin  if  there  are  going  to  be 
ladies  here. 

DICK.     I  don't  believe  we  need  punch  anyhow. 

BILLY.  No.  The  girls  don't  drink  it,  and  the  men 
are  in  training. 

FRANK.  All  right.  Exit  punch,  (exit  carrying 
bowl  high  up  in  the  air) 

DICK,  (handing  BILLY  two  plates)  Here,  Billy, 
put  these  plates  over  there  on  the  desk.  (BILLY 
crosses  with  them  to  desk  down  R.)  And  then  hurry 
up  and  put  these  up  on  the  mantel. 

(Enter  FRANK.  BILLY  crosses  back  to  get  plates  and 
turns  up  to  put  them  on  mantel.  FRANK  takes 
them  out  of  his  hands,  places  them  and  then 
goes  to  window  and  looks  out.) 

BILLY,  (to  DICK)  Say,  Dick,  is  your  sister 
coming  to-day? 

DICK.    Who,  Molly?    Well,  rather! 
BILLY.    Then  that's  all  right. 


18  STRONGHEART. 

(Enter  TAYLOR  and  Ross  R.  3.    They  cross  down  to 
below  couch.,    FRANK  turns  from  window.) 

FRANK,  (scathingly)  Well,  have  you  chaps  been 
off  on  a  drunk  somewhere  ?  You've  had  time  enough. 
(crosses  down  c.  From  the  R.,  they  stand  in  this 
order,  TAYLOR,  Ross,  BILLY,  FRANK  and  DICK) 

TAYLOR.  Oh,  all  right.  You  just  try  going  around 
and  getting  the  sort  of  truck  girls  like  to  eat. 

FRANK.    Did  you  get  the  tea? 

TAYLOR,  (holding  up  package)  Yes,  here  you  are. 
English  breakfast  tea,  two  pounds,  (passes  it  to 
BILLY) 

BILLY,     (smelling  it)     Will  that  be  enough? 

Ross,  (to  TAYLOR)  I  told  you  we'd  better  get 
three. 

FRANK,  (thinking)  Let's  see.  There'll  be  about 
twelve  people  here. 

BILLY,  (figuring  it  on  fingers)  That's  only  a — 
sixth  of  a  pound  a  piece,  (passes  tea  to  FRANK  who 
tosses  it  to  DICK.  DICK  takes  it  to  top  of  desk  and 
opens  it) 

Ross,  (to  TAYLOR,  triumphantly)  There  now, 
you  see? 

TAYLOR.  Oh,  well,  maybe  they  won't  all  take  tea. 
Anyhow  here  are  the  other  things,  uneedas,  zuzus — 
(passes  the  two  packages  to  BILLY  who  passes  them 
to  FRANK) 

FRANK,  (crossing  and  putting  packages  on  desk. 
Disgusted)  I  say,  we've  got  a  lot  of  those. 

Ross,     (to  TAYLOR)     I_told  you  they  had! 

TAYLOR.  Oh,  shut  up  Freshie!  (names  each 
package  in  pile  in  Ross's  arms)  Swiss  cheese,  cav- 
iar, potato  salad,  cheese  crackers,  pickles — 

Ross,  (dumping  packages  on  couch  and  holding 
up  a  small  box)  And  mint  jujubes. 

BILLY,     (and  other  men  ad  lib)     Good  Lord! 

Ross,     (smiling,  self-satisfied)    You  see  I  thought 


STRONGHEART.  19 

they'd  come  in  handy  for  the  girls  who  ate  potato 
salad. 

TAYLOR,  (slapping  him  on  back)  Good  boy, 
Freshie !  Intellect  sprouting. 

FRANK,  (crossing  L.  below  desk)  Well,  hustle 
things  up  boys.  Dick  keep  a  lookout  and  holler 
when  they  heave  in  sight. 

(DicK  up  to  window  and  looks  out.  TAYLOR  unwraps 
loaf  of  bread  in  Boss's  bundles  and  places  it  on 
desk  R.  Ross  and  BILLY  carry  stuff  from  sofa 
to  desk  L.) 

BILLY,  (c.)  I  wonder  what's  keeping  Strong- 
heart  ? 

FRANK,  (at  top  of  desk)  He  was  going  to  give 
that  sub  fullback  a  little  extra  coaching. 

DICK,  (from  window)  Here  he  comes  now.  (men 
all  up  to  window)  Hi — Strongheart!  Come  up 
here  and  work !  What  ?  Oh,  hang  your  frock  coat ! 

FRANK.  Come  on,  you  promised  to  help  fix  the 
room. 

BILLY.    Oh,  come  on  up,  don't  talk  so  much. 

TAYLOR.    It's  after  five  now. 

BOYS,  (in  chorus  generally)  Oh,  come  on — damn 
your  clothes — you  look  fine.  You're  all  right. 

Ross,     (crossing  to  R.  3)     Here  he  comes  boys. 

TAYLOR,  (crossing  to  upper  c.)  Come  on  boys, 
receive  the  chief! 

(All  men  get  down  on  their  knees  in  a  slanting  line 
from  R.  3,  to  desk.  From  R.  3  they  are,  Ross, 
TAYLOR,  FRANK,  DICK,  BILLY.) 

BILLY.    Now  all  together ! 

ALL  MEN.  (raising  their  arms  in  air)  "  Hail 
chief."  (they  bow  to  the  floor)  "  Hail  Mighty  War- 
rior." (they  raise  their  arms)  "  Thy  Braves  Greet 
Thee."  (they  bow  to  the  floor) 


20  STRONGHEART. 

(Enter  SOANGATAHA,  stands  amused  and  then  speaks 
with  mock  solemnity.) 

STRONGHEART.  Gentlemen,  this  reception  touches 
me  deeply,  (men  all  look  up)  I  do  not  know  what 
it  is  all  about,  but  that  does  not  matter.  I  love  to  see 
your  fresh  young  faces  lit  up  by  the  innocent  joy  of 
childhood,  so  as  Shakespeare  says  "  on  with  the  dance, 
let  joy  be  unrefined."  (tosses  hat  on  rack  and  crosses 
down  c.) 

TAYLOR  and  ALL  MEN.  (rising)  Hear!  Hear! 
Glad  you  can  play  old  man. 

STRONGHEART.    Thank  you  boys,  I'm  glad  too. 

DICK,  (crossing  R.,  behind  couch)  Come  on  boys, 
get  busy. 

(Ross  crosses  to  desk  with  packages,  BILLY  at  desk 
with  him  L.  TAYLOR  to  desk  R.,  gets  bread  and 
knife,  FRANK  on  STRONG'S  L.,  DICK  on  his  R.) 

FRANK.  You  oughtn't  to  wear  civilized  dress,  any- 
how. The  girls  will  be  awfully  disappointed. 

STRONG.  Why,  I  thought  only  your  sisters  were 
coming. 

DICK.  No.  Molly's  going  to  bring  a  couple  of 
friends  and  they'll  expect  to  see  you  in  full  war 
paint. 

TAYLOR,  (holding  up  bread  and  knife)  Sure. 
They'll  expect  you  to  cut  bread  with  a  scalping-knife. 

STRONG.  I  did  not  bring  my  scalping  knife  to 
New  York.  The  eastern  hair  comes  out  by  itself. 

(FRANK  crosses  to  top  of  desk.) 

DICK.  Yes,  it's  slower  here  but  surer,  (putting 
hand  on  STRONG'S  shoulder)  Say  old  man,  it's  great 
you  can  play  Thursday. 

Ross,  (crossing  to  couch  with  plate)  Yes  it's 
made  the  whole  team  feel  better. 


STRONGHEART.  21 

READB.  (entering  R.  3.  Samovar  held  out  before 
him)  Here  you  are !  (crosses  down  c.) 

ALL  MEN.    A-a-a-a-a-h ! 

DICK.     The  Grecian  flower  maiden. 

TAYLOR,  (crossing  and  taking  samovar)  Parsi- 
fal with  the  Grail ! 

(Swing  it  around  L.,   FRANK   takes  it  from   him. 
READE  watches  nervously.) 

READE.  (warningly)  No,  you've  got  to  be  careful 
of  this. 

TAYLOR.  All  right,  if  the  naughty  Goths  and  the 
Vandals  come,  we'll  lock  it  in  the  cupboard. 

BILLY,  (leaning  against  the  piano)  Hello  Tommy. 
Gee  it's  good  to  see  you  work. 

READE.  (to  FRANK)  Say  Frank,  have  you 
finished  with  those  History  notes  of  mine  ? 

ALL  MEN.    0 — 0 — oh  Lord. 

DICK.  Ye  Gods,  can't  you  keep  your  mind  off 
History  long  enough  to 

FRANK.  I  know  what's  the  matter  with  him. 
He's  been  talking  to  that  Barnard  Senior,  with  the 
light  frizzy  hair  and  "  ideas." 

STRONG,  (taking  READE  by  shoulders)  Never 
fear,  my  boy.  Your  precious  notes  will  be  returned 
to  you  safe  as  the  child  in  its  mother's  arms. 

FRANK.    Safer  Tommy. 

TAYLOR,  (melodramatically,  taking  READE'S  arm) 
Sure.  A  mother  when  hard  pressed  by  hungry  wolves 
might  throw  her  child  overboard  as  a  sort  of  peace 
offering.  But  Tommy  would  let  himself  be  torn 
into  a  thousand  fragments  before  he'd  part  with  one 
page  of  those  notes,  (slaps  him  on  shoulder) 

READE.  That's  all  right,  Taylor.  I  haven't  got 
eight  conditions,  anyhow. 

BILLY,  (crossing  and  slapping  READE  on  back) 
That's  right  Tommy.  Sic  'em.  Besides  if  you  don't 
get  your  notes  back,  I  don't  pass. 


22  STRONGHEART. 

FRANK,  (at  desk,  holding  up  handful  of  tea) 
Come,  stop  this  squabbling  and  pitch  in  here.  How 
long  ought  I  boil  this  tea? 

BILLY,     (crossing  to  foot  of  desk)    Three  minutes. 

DICK,  (crossing  to  desk)  Back  to  the  woods, 
Billy,  that's  for  eggs,  (sits  R.  of  desk) 

BILLY,  (picking  up  package)  Oh,  well,  boil  it 
three  hours  if  you  want  to,  I'm  not  going  to  drink  it. 

(Slams  down  package  and  goes  up  stage.  READE 
crosses  to  pipe  rack  and  gets  pipe.  Crosses  and 
stands  behind  DICK  at  desk.) 

FRANK.    Well,  don't  get  ratty  about  it. 

STRONG,  (crossing  to  top  of  desk)  I  suppose  I 
shall  have  to  make  it  myself. 

FRANK.    Do  you  know  how? 

STRONG.  No,  but  I'm  a  better  guesser  than  you 
are. 

(Ross  exits  L.  3.    Enters  immediately  with  pitcher 
of  hot  water.) 

FRANK,     (stepping  to  L.  of  desk)     Come  on  then. 

(STRONG  pulls  off  the  chimney  of  samovar.  Men  all 
stoop  and  look  at  samovar,  READE  and  BILLY  ex- 
cepted.  BILLY  stands  c.  READE  lights  match 
•  and  holds  it  in  hand  down  stage.  Is  back  of 
DICK  on  a  line.  From  R.,  they  are  BILLY,  READE, 
DICK,  STRONG,  FRANK,  Ross  and  TAYLOR  at 
foot  of  desk.) 

DICK,  (after  a  pause)  How  does  the  damn  thing 
work? 

IAEADE.    When  I  was  in  Russia 

ALL  MEN.  (turning  to  him,  DICK  blows  out 
match)  S-h-h-h-h-h-h-h ! 


STEONGHEAET.  23 

FRANK,      (indicating  faucet  of  samovar)     Press 
the  gargoyle  and  trust  to  Providence. 
BILLY,     (c.)     I  think  it's  upside  down. 

(TAYLOR  crosses  to  L.  c.) 

Boss,  (handing  FRANK  pitcher  of  water)  "Just 
add  hot  water  and  serve." 

TAYLOR.  Behold,  the  future  chief  of  a  war-like 
people  making  tea  for  pale-face  squaws. 

BILLY,  (crossing  down  c.,  facing  upstage)  Come 
on,  boys,  let's  have  a  war  dance,  (DicK  crosses  up 
window  and  looks  out)  to  make  him  feel  at  home. 
What  is  home  without  a  war  dance  ? 

(BILLY  crosses  to  desk,  grabs  cup  and  saucer.  All 
men  do  same  and  start  to  dance  around  desk, 
whooping,  etc.  EEADE  dances  very  seriously. 
They  get  once  around  when  DICK  rushes  down 
with  his  hands  raised.  Men  stop,  holding  their 
position.) 

DICK.  Boys,  here  are  the  girls !  (rushes  into  L. 
3.  Men  start  rushing  about  room  talking  and  trying 
to  straighten  things  and  only  make  it  look  worse.) 

FRANK.  Gosh.  Say  Billy,  just  look  around  the 
room  and  take  down  any  relics  that  might — er — you 
know,  (rushes  into  R.  1)  Oh,  Billy,  sling  that  pair 
of  pants  in  here  will  you?  (BILLY  gets  pants  from 
couch  and  throws  them  in  R.  1)  And  Billy  chuck  that 
football  off  the  piano  will  you?  (BILLY  does  so — 
throws  it  R.  1)  And  don't  forget  the  champagne 
bottles  and  that  box  of  poker  chips.  Oh,  and  Billy — 

BILLY,  (stopping  c.)  Say,  what  am  I,  anyhow? 
A  damn  pack-horse?  Why  don't  you  ask  the  other 
men  to  do  something? 

(DiCK  crosses  from  L.  1  3  to  R.  3,  running.    FRANK 
rushes  out  R.  1  to  BILLY,  and  grabs  him.) 


24  STRONGHEART. 

FRANK.  Quick,  Billy,  those  stockings !  (exits  R.  3, 
on  the  run) 

BILLY.  Judas  Iscariot!  (rushes  up,  gets  stock- 
ings and  crosses  down  to  foot  of  desk) 

FRANK.  (ushering  in  the  ladies)  Come  in, 
Mother.  You  know  Strongheart  and  Mr.  Saunders. 
(MRS.  N.  crosses  to  L.  c.,  TAYLOR  and  MAUD  cross 
to  piano)  This  is  Mr.  Taylor  and  Mr.  Ross) 

(Enter  DICK  and  DOROTHY.  DOROTHY  crosses  down 
in  front  of  couch.  DICK  stands  and  talks  to 
Miss  BATES.  Ross  L.  of  Miss  BATES.  READE 
talking  to  MRS.  N.,  FRANK  at  desk.  STRONG 
below  desk.) 

BILLY,  (crossing  c.  to  MOLLY)  How  do  you  do, 
Miss  Molly?  (shaking  hands) 

MOLLY.    Fine,  thank  you.    How's  the  team  ? 

BILLY.  So,  so.  We  need  you  to  look  us  over,  you 
know. 

MOLLY.  I  see  they*  took  you  out  of  guard  and  put 
you  in  at  center,  (crosses  to  STRONG,  shaking  hands) 
Hello,  Soangataha.  (crosses  up  to  window  with 
BILLY) 

STRONG.  Hello,  little  one.  (crosses  to  DOROTHY 
R.  c.)  Miss  Nelson. 

DOROTHY.  I  haven't  seen  you  for  almost  a  week. 
Are  you  forgetting  your  old  friends  ? 

STRONG.    No,  we've  been  kept  very  busy  up  here. 

DOROTHY.  Ah,  the  old  excuse.  (DICK  crosses 
down  to  her,  Ross  and  BATES  170  up  to  mantel  and 
get  photograph) 

(DiCK  crosses  to  her  R.,  and  all  three  stand  talking.) 

FRANK,  (tasting  tea)  Mother,  I'm  going  to  get 
you  to  help  us  out  by  showing  us  how  to  make  tea. 
You  see  this  is  our  first  offense  at  anything  of  this 


STRONGHEART.  25 

sort,  (hands  her  cup.  She  tastes  it  and  makes  a 
face) 

MRS.  N.    Good  gracious,  it's  dreadful. 

FRANK.  (laughing)  I  say  Chief,  the  mater 
doesn't  seem  to  care  for  your  tea. 

STRONG,  (crossing  up  to  c.)  I  beg  your  pardon, 
Mrs.  Nelson,  I  should  have  warned  you. 

MKS.  N.  You  must  have  made  it  according  to  the 
methods  of  your  medicine  men. 

(DOROTHY  and  DICK  sit  on  sofa.) 

STRONG.  I  was  afraid  it  would  remind  you  of 
medicine. 

MRS.  N".    Don't  you  boys  ever  use  spoons? 

FRANK.  Great  Scott!  We've  forgotten  the  tea- 
spoons. 

STRONG.  I  will  try  and  find  some  for  you,  Frank. 
(exits  R.  1) 

BETTY,  (up  R.  c.,  to  Ross  who  is  showing 
picture)  And  what  position  do  you  play,  Mr.  Ross? 

Ross.  Why — er — you — see  Miss  Bates,  I'm  only  a 
substitute  this  year. 

FRANK,  (from  L.  of  desk)  Ross,  I  want  to  in- 
troduce you  to  Dick's  sister,  Miss  Livingston. 

(Ross  turns  up  stage  to  MOLLY  who  is  in  window.) 

MOLLY,  (crossing  down  from  window  and  shak- 
ing hands)  Oh,  I  know  you  Mr.  Ross,  you  played 
the  last  five  minutes  of  the  Hamilton  game. 

(Ross  puffed  up  at  her  notice,  stands  and  talks  to 
her.    BILLY  glares  at  him.) 

DOROTHY,  (to  DICK)  Dick,  those  girls  haven't 
thought  or  talked  anything  but  football  since  the  sea- 
son began.  ' 


26  STEONGHEAET. 

DICK.  Yes,  we're  all  thinking  a  good  deal  of  the 
game  up  here. 

DOKOTHY.  We're  going  to  be  in  the  front  row 
of  the  center  section,  but  I  suppose  you  won't  be  able 
to  see  us. 

DICK.  Xo,  but  we'll  know  you're  there,  and  it'll 
make  us  play  harder.  It  means  a  good  deal  to  a  fel- 
low to  have  the  right  girl  watching  the  game. 

DOROTHY.  And  will  the  "  right  girl "  be  there, 
Dick? 

DICK.  Yes.  She'll  be  sitting  in  the  front  row 
of  the  center  section.  You  know  who  it  is,  Dorothy. 
I  want  to  win  for  you. 

DOROTHY.  Why,  Dick,  how  serious  you  are.  It's 
only  a  game. 

DICK.  Yes,  but  sometimes  the  big  things  of  life 
get  mixed  up  in  a  game,  so  that  if  you  lose,  you  lose 
everything. 

DOROTHY.  You're  getting  morbid,  Dick.  It's  no 
disgrace  to  lose. 

(Enter  THORNE  R.  3.    Crosses  down  to  DOROTHY, 
shakes  hands.    DICK  rises.) 

THORNE.  Ah,  how  do  you  do,  Miss  Kelson?  I 
suppose  of  course  you're  talking  football.  Every  other 
topic  strictly  forbidden  by  the  head  coach. 

FRANK.     Come  on  fellows,  grub's  ready. 

(TAYLOR  and  MAUD  move  up  stage  and  to  the  c.) 

BILLY  and  Eoss.  (charging  down  to  desk)  Can't 
I  get  you  some  tea,  Miss  Molly? 

FRANK.  Here,  you  fellows,  one  at  a  time. 
(crosses  to  c.,  and  hands  EEADE  a  plate  of  crackers) 
Here,  Eeade,  hand  these  'round. 

(EEADE  hands  them  to  DOROTHY  and  other  women.) 


STEONGHEAET.  27 

MOLLY,  (crossing  down  L.  of  desk)  Here.  You 
boys  are  driving  poor  Mrs.  Nelson  crazy.  Let  me 
show  you  how  to  keep  a  crowd  of  football  men  in 
order. 

MRS.  N.     (relieved]     Thank  you,  my  dear. 

MOLLY,  (putting  on  stern  manner  and  pound- 
ing desk)  Now  then.  What  this  team  needs  is  more 
discipline.  Team  work.  You  can't  all  get  the  ball 
at  once ! 

DICK,     (crossing  to  c.)     But  look  here 

MOLLY,  (very  sternly}  Don't  talk  back,  (men 
laugh)  Stop  that  laughing,  (all  stop)  Every  one 
of  you  men  has  got  to  realize  what  depends  on  this. 
Nelson,  wipe  that  smile  off  your  face.  (FRANK 
scowls.  MOLLY  takes  up  cup  of  tea)  Seniors  first, 
Captain  Nelson.  (FRANK  crosses  to  desk,  gets  cup 
and  takes  it  to  DOROTHY,  DOROTHY  and  THORNE 
cross  up  to  window  seat)  Saunders !  (BILL  gets  cup 
and  hands  it  to  EEADE  c.)  Livingston!  (DiCK 
crosses  and  gets  cup,  then  crosses  back  to  R.  c.,  above 
couch) 

(MAUD  and  BETTY  sit  on  sofa) 

FRANK,  (crossing  in  front  of  desk  to  L.)  All 
right,  Coach,  let  me  handle  the  team  now. 

( MOLLY  crosses  to  front  of  desk.) 

BILLY.  (crossing  down  c.,  facing  up  stage} 
Come  on  boys,  a  short  yell  for  the  new  coach.  Eeady, 
one,  two,  three. 

(Regulation  "rooter"  leader  business.) 

ALL    THE    MEN.      Eay — ray — ray,    C-0-L-U-M- 
B-I-A.    New  coach,  new  coach,  new  coach! 
EEADE.    Coach ! 


28  STRONGHEART. 

TAYLOR.  (slapping  him  on  back)  Take  the  sub- 
way, Reade. 

Ross.  (crossing  to  MOLLY  with  cup  of  tea) 
Won't  you  have  a  cup  of  tea,  Miss  Molly? 

BILLY,  (crossing  to  her  and  pushing  Ross  away) 
Oh,  I  think  you  said  I  might. 

MOLLY,  (to  BILLY)  Oh,  I  promised  Mr.  Saun- 
ders.  Won't  you  get  me  a  cracker?  (to  Ross)  And 
Mr.  Ross,  may  I  trouble  you  for  the  sugar?  (Ross 
gets  it) 

FRANK.    Say  boys,  we  haven't  had  a  song  yet. 

TAYLOR,  (crossing  down  c.)  That's  the  cheese. 
Come  on  Billy,  give  us  the  Faculty  song. 

BILLY,  (crossing  and  sitting  at  piano)  Well,  I'm 
not  much  of  a  premiere  danseuse  on  this  machine, 
but  here  goes,  (strikes  a  chord,  sings  very  high.  His 
voice  breaks) 

DICK,  (others  groan,  etc.)  Gosh.  Cut  it  out, 
Billy. 

BILLY.  (turning  to  crowd)  Then  everybody 
sing. 

WARN  DOG  HOWL. 

Ross,  (at  L.  of  desk)  Play  it  lower,  that's  too 
high. 

BILLY.  This  is  the  only  key  I  can  play  in. 

DICK.  Say  Molly,  relieve  the  situation? 

(Ross  crosses  LV  below  piano.) 

MOLLY,  (above  piano)  All  right,  come  on  boys. 
(sits  at  piano.  TAYLOR  and  MAUD  cross  to  piano, 
READE  sits  on  sofa  with  BETTY.  BILLY  crosses  to 
chair  R.  of  desk  and  stands  on  it,  to  lead) 

BILLY,  (on  chair)  Now  boys,  all  together.  Give 
it  to  'em  hard.  Ready.  (MOLLY  strikes  chord) 
Bins,  zwei,  drei.  Go ! 

(All  sing  the  faculty  song.) 


STRONGHEART.  2& 

"Faculty  Song" 

In  Heaven  above  where  all  is  love, 

The  Faculty  won't  be  there. 

But  down  below,  where  all  is  woe, 

The  Faculty  will  be  there.     Singing, 

C-0-Lr-U-M-B-I-A,    C-0-L-U-M-B-I-A,  C-0-L-U-M- 

B-I-A, 

Ray,  ray,  ray  for  old  Columbia, 
Cheer,  now,  boys,  she's  out  of  sight; 
Ere  the  sun  has  sunk  to  rest  in  the  cradle  of  the  West 
In  the  clouds  will  proudly  float  the  Blue  and  White ! 

(At  the  end  of  song  dog  is  heard  howling  dismally.) 

DOG  HOWL. 

MOLLY.  (turning  from  piano)  Why,  what's 
that? 

BILLY,  (getting  off  chair)  That's  my  pup. 
(crossing  to  L.  3)  Shut  up,  Siegfried. 

(TAYLOR  and  MAUD  cross  to  c.) 

DICK,     (down  R.)     Where's  Strongheart? 
FRANK.    I  sent  him  for  teaspoons. 

(DiCK  crosses  up  to  head  of  couch.) 
BETTY,    (on  couch)    He's  not  a  bit  like  a  savage. 
(TAYLOR  and  MAUD  c.) 

MAUD.    Oh,  I  think  he  is. 

DICK.    Well,  if  it  comes  to  that,  what  is  a  savage  ? 
READE.     (seriously)    A  human  being  in  his  native 
state  of  rudeness. 

TAYLOR,     (slapping  him  on  back)     Oh,  back  up, 


30  STRONGHEART. 

Reade.    That* s  a  freshman,    (puts  cracker  in  READERS 
mouth.    READE  is  holding  plate  of  them) 

BILLY,  (at  piano,  to  Ross  who  is  talking  to 
MOLLY)  A  savage  is  a  man  who  minds  his  own 
business. 

(Ross  turns  away.) 

TAYLOR,  (to  MAUD)  Oh,  you  saw  how  quiet  he 
was.  If  you  don't  notice  him  he  won't  hurt  you. 

BILLY.  Sure.  Why,  if  you  make  friends  with  him 
he'll  eat  right  out  of  your  hand. 

MAUD.    Oh,  I  want  to  talk  to  him. 

BETTY.    You  know,  I  feel  almost  nervous. 

(STRONG  enters  E.  1  with  2  large  tablespoons, 
crosses  to  c.,  and  hands  them  to  READE  who 
takes  them  to  FRANK  L.) 

FRANK.  Well,  Strongheart,  did  you  get  the  tea- 
spoons? 

WARN  DOG  HOWL. 

STRONG.    Yes.    These  are  the  hest  I  could  find. 

FRANK.    Thanks  old  man,  they'll  do. 

TAYLOR,  (crossing  down  c.  wi'th  MAUD)  Oh, 
Strongheart,  I  want  to  introduce  you  to  Miss  Weston. 

MAUD,  (crossing  to  STRONG,  bashfully)  Oh,  how 
do  you  do.  I — I — I — I've  heard — so  much  about 
you.  Tell  me— how — do  you  like  America. 

(Everyone  has  a  quiet  laugh  at  her.) 

STRONG,  (seriously)  My  people  have  always  been 
very  fond  of  the  place. 

MOLLY,  (crossing  to  L.  c.,  laughing)  I  guess 
you've  forgotten,  Maud,  he's  more  American  than 
you  are. 

MAUD,    (very  embarrassed)     Oh,  yes,  of  course. 


STRONGHEART.  31 

How  stupid   of   me.      (moving   down  stage)      Mr. 
Taylor,  won't  you  get  me  some  tea. 

(TAYLOR  crosses  down  to  her.    They  retire  up  stage.) 

MOLLY,  (crossing  to  STRONG)  Why,  no  one  has 
offered  you  anything  to  eat. 

STRONG.  Thank  you,  I  am  in  training.  So  I  may 
not  even  smoke  the  pipe  of  peace  with  you. 

(Dog  howls  dismally  off  L.  3.    BILLY  crosses  to  L.  3.) 

DOG  HOWL. 

TAYLOR.    You'd  better  look  after  your  pup,  Billy. 

MOLLY.    Oh,  I  want  to  see  him. 

BILLY.  (L.  3)  All  right,  besides  they're  going 
to  light  the  library  dome  to-night,  and  we  can  watch 
it  from  the  study  window. 

(All  the  following  lines  are  spoken  to  make  chatter 
as  the  crowd  exits  L.  3.  TAYLOR'S  line  being 
heard  above  the  rest.) 

MOLLY,   (running  to-  L.  3,  and  out)     Fine.     It'll 
be  just  like  moonlight.     Come  on  folks. 
BILLY.    Fetch  the  guitar,  Frank. 

(FRANK  does  so.) 

BETTY,  (crossing)  Oh,  Mr.  Nelson,  Molly  said 
you  were  going  to  show  us  your  football  relics. 

FRANK.    Yes,  they're  in  the  other  room. 

TAYLOR,  (following  the  rest  out)  Say,  Billy, 
you'd  better  tie  Siegfried  in  the  other  room,  he'll 
commit  suicide  if  he  hears  you  singing  right  next  to 
him.  (exits) 

STRONG,  (c.)  He  was  just  trying  to  join  in  the 
chorus. 


32  STRONGHEART. 

MOLLY,     (off)     Oh,  what  a  perfect  dear. 

BILLY,  (off)  Down  Siegfried,  keep  off  my— 
clothes. 

DOROTHY  (up  to  L.  c.)  So  you're  going  to  play 
Thursday,  after  all?  (crosses  down  1.  to  desk) 

STRONG,    (crossing  down  c.)    Yea. 

DOROTHY.  I'm  so  glad.  Frank  says  it  means  that 
we'll  win.  Do  you  think  we  will  ? 

STRONG.  We  are  going  to  do  our  best.  But  they 
are  very  strong  this  year. 

DOROTHY.  Never  mind.  I  want  you  to  win  this 
game  for  Columbia. 

STRONG.    Onlj  for  Columbia  ? 

DOROTHY.    Well,  for  me  too  if  you  wish. 

STRONG.  Then  I  will  play  as  I  never  played  be- 
fore for  Columbia,  and  for  you.  It  will  be  my  last 
game. 

DOROTHY.    Your  last  game? 

STRONG.  Yes.  I  have  received  another  letter 
from  my  people.  They  are  waiting  for  me  to  come 
back  to  them. 

DOROTHY.     But  you're  not  going  yet? 

STRONG.  No,  not  yet.  But  my  college  life  will 
«oon  be  over,  and  then  I  wish  to  do  for  them  all  the 
things  we  have  planned  out  together.  Miss  Nelson, 
you  do  not  realize  what  you  have  been  to  me  during 
this  past  year. 

DOROTHY,  (sitting  in  chair  R.  of  desk)  Have 
I  really  then  been  of  any  help  to  you? 

STRONG.  You  have  given  me  more  than  help,  for 
you  showed  me  my  duty  to  my  people.  You  made 
me  know  that  the  son  of  a  chief  must  fit  himself  to 
govern  wisely. 

DOROTHY.  I  did  want  to  help  a  little.  It  is  so 
seldom  nowadays  that  one  meets  a  man  of  high  pur- 
pose and  ideals.  And  your  position  gives  you  a  great 
opportunity. 

STRONG.  It  is  you  who  showed  me  that.  You 
told  me  of  the  advantages  civilization  would  bring 


STEONGHEART.  33 

to  my  people.  That  when  we  had  learned  your  ways 
and  obeyed  your  laws,  you  would  call  us  brothers. 
From  that  day  my  one  thought,  my  one  ambition 
has  been  that  your  words  might  come  true.  Your 
people  and  mine  dwelling  together  in  peace.  It  is 
for  that  I  am  working,  and  you  showed  me  the  way. 

DOROTHY.  You  give  me  credit  I  do  not  deserve. 
You  have  worked  alone,  (rises)  and  I  want  you  to 
know,  Strongheart,  that  for  what  you  have  done  I 
admire  and  respect  you. 

STRONG.  (much  moved,  but  impassive)  Miss 
Nelson,  what  you  think  of  my  work  means  very  much 
to  me,  you  have  made  me  very  happy. 

DOROTHY,  (crossing  to  L.  of  desk,  towards  door) 
We'd  better  join  the  others. 

(STRONG  follows  her  to  L.  3.) 

MOLLY,  (off)  Oh,  please,  please,  don't  whip 
him. 

BILLY,  (entering  L.  3,  MOLLY  following  crosses 
down  c. )  Siegfried,  do  you  hear  that  kind  lady  beg- 
ging for  you? 

STRONG,  (at  L.  3)  What  is  the  matter,  William, 
is  the  pup  in  disgrace? 

MOLLY,  (giggling)  He  ate  three  strings  off  the 
guitar,  and  Frank  is  putting  on  new  ones  in  the 
midst  of  a  most  profane  silence. 

STRONG.  Be  gentle  with  him,  Billy.  After  giv- 
ing him  such  a  name,  you  cannot  blame  him  if  he 
has  a  taste  for  music,  (he  and  DOROTHY  exit) 

MOLLY.    You'll  let  him  off  this  time,  won't  you  ? 

BILLY.    I'll  let  you  buy  his  pardon. 

MOLLY.    What  with  ? 

BILLY.    Five  minutes'  conversation  in  here. 

MOLLY.  Isn't  that  a  big  price  for  such  a  small 
dog? 

BILLY.  Oh,  of  course  you  needn't  pay  it.  (stoop- 
ing down  and  shaking  dog  by  collar)  Come  on  here, 


34  STRONGHEART. 

you  beast.  I'll  teach  you  to  eat  guitars.  I  know 
where  there's  a  belt  with  a  big,  fat  buckle  on  it. 
(shakes  dog) 

MOLLY,  (stooping  down  and  taking  dog)  Oh, 
please  don't. 

BILLY,     (craftily)     Will  you  buy  him  off? 

MOLLY,     (decidedly')     Yes.     (rises) 

BILLY,  (crossing  and  putting  dog  out  R.  1.  Closes 
door)  Come  on,  you  beast.  It's  a  good  thing  you 
had  that  kind  lady  to  plead  for  you.  (turns  to 
MOLLY)  Now. 

MOLLY,     (looking  at  watch)     Eeady? 

BILLY,     (looking  at  watch)     Ready. 

MOLLY,     (sitting  comfortably  on  couch)     Go. 

BILLY,  (crossing  to  upper  end  of  couch)  Now, 
will  you  answer  my  question? 

MOLLY.    What  question  ? 

BILLY,  (pointing  L.  3)  The  one  I  asked  you  in 
there. 

MOLLY.  Well,  if  you  really  want  me  to  believe 
that  I'm  the  only  girl  you  ever  cared  anything  about, 
you've  got  to  do  something  to  prove  it. 

BILLY,  (sits)  Yes,  but  gee  whiz,  a  fellow  can't 
do  anything  heroic  nowadays  without  getting  pinched. 
Now,  if  you  and  I'd  only  lived  about  'steen  hundred 
years  ago. 

MOLLY.  Yes,  and  what  would  you  have  done, 
brave  Sir  Billy  ? 

BILLY,  (perfectly  simply)  Oh,  the  usual  stunts. 
I'd  have  browsed  around  on  a  nickel-plated  plug 
until  I  got  up  against  some  gazabo  that  thought  his 
lady  fair  was  the  whole  cheese.  Then  I'd  tell  him  he 
had  bats  in  his  belfry,  and  that  I  was  carrying  a 
pretty  fine  line  of  ladies  fair  myself.  Then  I'd  put 
him  out  of  business  just  to  show  him  that  my  lady 
fair  was  the  main  squeeze. 

MOLLY.  Say,  Mr.  Saunders,  you're  awfully  ro- 
mantic, aren't  you? 

BILLY.     Yes,  I  guess  I  am,  now.     But  before  I 


STRONGHEART.  35 

met  you  I  was  several  chips  shy  on  romance.  Say,  I 
know  what  I  can  do.  (rises,  backs  to  c.)  If  you 
want  me  to,  I'll  try  and  kill  the  other  center  for  you, 
next  Thursday. 

MOLLY,  (rising  and  crossing  to  him)  Oh,  no, 
don't  kill  him  on  my  account,  (rises  and  crosses)  I'll 
tell  you  what  you  can  do.  Give  me  something  that 
means  a  great  deal  to  you.  Something  you've  sworn 
you'd  never  part  with.  (  BILLY  putts  out  his  watch 
and  offers  it)  Some  girl's  picture  or  something. 

(During   this  speech  BILLY  feels  his  scarf  pin  and 
ring.) 

BILLY.  Why,  I  never  was  much  of  a  lady's  man, 
Miss  Molly,  and  I  guess  this  list  of  signals  is  the 
only  thing  I  haven't  got  the  right  to  give  away.  You 
see  no  girl  ever  thought  enough  of  me  to  give  me 
anything  of  her  own.  (he  has  had  his  hands  in  his 
pockets  during  this  speech.  Now  putts  out  his  right 
hand  with  the  stockings  in  it  and  wipes  his  forehead. 
Sees  what  he  has  and  quickly  passes  them  behind  his 
back  to  L.  pocket.  Then  takes  out  signals  from  in- 
side pocket)  I  suppose  these  signals  might  do,  be- 
cause if  any  one  knows  that  I  let  them  go  out  of  my 
hands,  well,  it  would  be  down  and  out  for  mine. 

MOLLY,  (delighted)  Oh,  then  I'll  hold  you  in 
my  power,  won't  I? 

BILLY,  (dubiously)  Ye-e-es.  (gives  her  signals) 
I'll  have  to  get  them  from  Taylor,  (moves  a  step 
to  the  L.) 

MOLLY,  (holding  the  signals  out  before  her)  Oh, 
it's  just  splendid  to  hold  a  man's  honor  in  your  hands. 

BILLY,  (crossing  and  putting  his  hands  under 
and  over  hers)  Yes,  but  don't  drop  it. 

DICK,  (entering  L.  3,  crosses  to  L.  c.)  Say,  Billy, 
they  want  you  to  lead  the  band.  Come  on — come  on ! 

BILLY,     (unwillingly)     Oh,  all  right,     (crosses  to 


36  STRONGHEAET. 

L.  3,  and  waits  for  MOLLY.  DICK  steps  in  front  of 
her  and  turns  to  BILLY) 

DICK.  On  your  way !  (BILLY  exits.  DICK  turns 
to  MOLLY  and  speaks  very  sternly,  folding  his  arms) 
Look  here,  you  mustn't  take  our  band  master  into  a 
corner. 

MOLLY,  (imitating)  Now,  don't  you  think  that 
just  because  you're  a  few  years  older  you  can  boss 
your  little  sister,  because  (ki-sses  him)  you  can't. 
(runs  out  L.  3.  DICK  stands  looking  after  MOLLY) 

DICK.  No  word  from  Skinner.  I  wonder  if  any- 
thing's  gone  wrong.  Oh,  what  a  fool  I  am. 

('Crosses  up  to  window  seat  and  sits,  head  in  hands. 
STRONG  enters  L.  3,  sees  DICK,  closes  door. 
Noise  startles  DICK  who  looks  up.) 

DICK.    What?    Oh,  it's  you,  Strongheart? 

STRONG,  (crosssing  to  him)  Yes.  What  is  the 
matter? 

DICK,  (crossing  down  stage)  Oh,  nothing.  I've 
been  a  bigger  fool  than  usual,  that's  all. 

STRONG,  (crossing  down  to  him)  Dick,  you  and 
I  are  old  friends.  We  have  hunted  together  and  faced 
danger  side  by  side  out  there  in  the  West.  You  and 
Frank  are  like  brothers  to  me,  I  know  all  your  moods, 
and  for  the  last  few  days  I  have  noticed  that  you  have 
not  been  yourself.  What  is  it  old  man?  If  a  friend 
can  be  of  any  help,  tell  me  all  about  it. 

DICK.  Well,  you  know  what  an  idle  good  for  noth- 
ing sort  of  a  chap  I've  always  been. 

WARN  SONG. 

STRONG.  I  know  Dick  that  you  are  the  most 
generous  faithful  friend  a  man  ever  had. 

DICK,  (crossing  to  desk  and  sitting  on  the  edge) 
Yes,  that's  the  trouble.  I'm  too  generous,  I  don't 


STKONGHEART.  37 

recognize  the  difference  between  spending  money  of 
my  own,  and  spending  other  people's. 

{Of  L.,  mixed  voices  heard  singing  the  "Amid." 
Continued  until  curtain.     Words  of  "Amid.") 

SONG: 
I. 

Our  strong  band  can  ne'er  be  broken, 
It  can  never  die ; 
Far  surpassing  wealth  unspoken, 
Sealed  by  friendship's  tie. 

Refrain. 

Amici  usque  ad  aras, 
Deep  graven  on  each  heart, 
Shall  be  found  unwavering,  true, 
When  we  from  life  shall  part. 

II. 

Memory's  leaflets  close  shall  twine 
Around  our  hearts  for  aye, 
And  waft  us  back  o'er  life's  broad  track 
To  pleasures  long  gone  by. 

Refrain. 
III. 

College  life  is  swiftly  passing, 
Soon  its  sands  are  run, 
But  while  we  live  we'll  ever  cherish, 
Friendships  here  begun. 

Refrain. 


38  STRONGHEART. 

(Music  in  book  "  Columbia   University  Songs/'  C. 
H.  DITSON  Co.,  B'way.,  N.  Y.,  $1.00.) 

STRONG.     What  have  you  done? 

DICK.  I've  contracted  debts  that  I  have  no  means 
of  paying.  I've  been  careless  about  these  things  be- 
fore now,  but  lately  I — I've  wanted  to  be  better 
somehow,  I've  come  to  care  a  good  deal  for  a  girl, 
and  I've  been  keeping  pretty  straight  lately,  but — now 
there's  the  devil  to  pay. 

STRONG.     Go  on. 

DICK.  You  know  the  other  night,  Buckley  said  I 
was  too  fine  and  told  me  to  break  training? 

STRONG.    Yes. 

DICK.  I  went  out  and  had  a  few  drinks,  and  then 
somehow  I  got  to  Thome's  room.  There  was  a  crowd 
there  playing  poker. 

STRONG.     College  men? 

DICK.  No.  I  had  just  drunk  enough  not  to  know 
what  I  was  doing  but  not  enough  to  show  it.  When 
I  got  through,  I  had  lost  three  thousand  dollars. 
Then  Thome  persuaded  me  to  borrow  that  much 
more  from  him  and  back  Columbia,  in  the  hope  of 
winning  it  all  back  again. 

STRONG.     So  you  are  six  thousand  short. 

DICK.  Yes.  And  more  than  that  depends  on  tha 
game. 

STRONG.    More  ? 

DICK.  Yes,  if  we  lose  I  must  leave  college  dis- 
graced and  will  have  no  right  to  speak  to— (hesitates) 

STRONG.    To  whom,  Dick. 

DICK.  I  won't  name  her  now,  not  even  to  you. 
But  it's  the  girl  I 

STRONG.    The  girl,  Dick  ? 

DICK.    Yes.    I'd  be  disgraced  in  her  eyes. 

STRONG.    Why  did  not  you  tell  me  of  this  before  ? 

DICK.  (rising  from  desk)  You  haven't  any 
money  to  spare,  Strongheart. 

STRONG,      (crossing   to  L.   c.)      That  is  not  the 


STRONGHEART.  39 

point.  There  is  some  combination  here,  I  do  not 
quite  see  through.  There  must  be  something  in  it 
for  Thome. 

DICK.    Thome? 

WARN  CURTAIN. 

STRONG.  Yes.  Thome  saw  you  were  not  your- 
self, and  then  won  your  money.  Thome  lent  you 
more.  Thome  got  you  to  bet.  I  do  not  like  the  looks 
of  it. 

DICK.     But  what  has  he  against  me? 

STRONG.  I  do  not  know.  But  I  will  find  out. 
(rises  and  takes  DICK  by  the  arms)  Look  here,  old 
man,  you  are  the  only  hope  we  have  got  in  Thursday's 
game.  Now  you  think  football,  talk  football,  eat  foot- 
ball, and  dream  football,  and  I  will  just  take  a  hand 
in  this  other  business  myself. 

DICK.  No,  it's  a  bad  mess,  Strongheart.  You'd 
better  keep  out  of  it. 

("Amid"  swells  for  a  moment.) 

STRONG,  (pointing  L.  3)  Dick,  do  you  hear  what 
they  are  singing  in  here  ?  "  Friends  until  death." 
That  is  what  our  college  stands  for,  and  am  I  not 
one  of  you? 

DICK,     (very  firmly)     Yes. 

STRONG.  Then  fight  for  "  her  "  Dick  and  whatever 
comes  we  will  face  it  together. 

CURTAIN. 


40  STKONGHEART. 


ACT  II, 

SCENE  : — Dressing  room  of  the  Columbia  team  at  the 
Polo  Grounds,  New  York.  A  dingy  white 
washed  room,  hare  floors  and  walls.  Everything 
dirty.  Door  R.  3  opening  on  to  balcony.  Large 
window  R.  1.  Rows  of  lockers  across  hack  wall 
and  down  L.  wall.  A  long  bench  across  stage  at 
hack.  Shorter  bench  in  front  of  lockers  L. 
Water  bottles,  sponges,  buckets,  towels,  blankets 
and  sweaters,  etc.,  lying  around  on  bench,  floor 
and  lockers.  Backing  for  door  and  window  R. 
shows  a  corner  of  the  field.  The  Grand  stand 
and  gridiron  cannot  be  seen.  The  general  effect 
is  one  of  confusion.  At  the  end  of  this  act  will 
be  found  a  list  of  off  stage  shouts,  and  the  cues 
for  their  occurrence  are  marked  in  the  act.  The 
signals  for  these  shouts  should  anticipate  the 
cues  a  bit,  or  be  given  exactly  on  the  cue,  depend- 
ing on  how  far  the  men  are  from  the  scene,  and 
howlong  it  will  take  the  shout  to  reach  the  scene 
after  the  signal  is  given. 

TIME: — Two  days  later.  Before  the  curtain  rises 
crowd  is  heard  as  if  in  distance,  singing  a 
Columbia  football  song  to  the  tune  of  "  Navajo." 
1.  This  is  followed  by  the  Columbia  yell.  The 
curtain  goes  up  on  the  letter  "  U  "  in  the  yell. 
It  rises  on  an  empty  stage.  After  the  yell  there  is 
a  long  shout,  a  short  pause,  after  which  NASH  is 
heard  shouting:  "No,  I  won't."  Then  enter 
through  door  R.  3,  JOSH,  NASH  and  TAD.  JOSH 
and  TAD  support  NASH  who  is  cut  about  the  head 
and  his  righ  t  leg  is  injured.  He  is  covered  with 
mud  and  wrapped  in  a  blanket.  They  take  him 
to  c.  in  front  of  bench.  He  struggles  to  get  out. 
TAD  carries  bucket  of  water  and  sponge  and 
there  are  several  bandages  on  the  bench. 


STRONGHEART.  41 

JOSH.  Over  here,  Tad — (to  NASH)  Come  on, 
Tom,  let  me  look  at  that  leg. 

(Lays  NASH  on  floor  in  front  of  bench.) 

NASH,  (struggling  to  get  up.  TAD  holds  him) 
No,  I  won't.  Say,  Josh,  why  won't  they  let  me  play  ? 

JOSH,  (sponging  his  leg)  Why  you  can't  stand 
up,  Tommy.  2 

(Outside  is  heard  the  chant,  "Tear  'em  up,  touch 
down,"  four  times — followed  by  " Hold  'em" 
four  times.) 

NASH,  (struggling  to  get  up)  What's  that?  Why, 
they've  got  the  ball  again.  Let  me  out,  damn  it,  let 
me  out  there,  (outside  is  heard  a  long,  exultant 
cheer)  There  they've  scored!  Why  won't  they  let 
me  play  Josh? 

TAD.  (holding  NASH)  Naw  they  ain't  scored. 
The  half's  over. 

NASH,  (exultantly)  Half's  over?  Then  we  held 
'em.  (faints) 

JOSH,  (bandaging  his  leg)  Sure  Tommy.  We'll 
lick  the  pants  off  'em  next  half. 

(Enter  R.  3,  FRANK,  DICK,  THORNE,  BILLY,  Ross, 
STRONGHEART,  fallowed  by  fifteen  men  who  make 
up  team  and  substitutes,  also  rubbers  carrying 
water  bottles  and  sponges.  The  team,  plastered 
with  mud  and  dirt,  some  of  them  limping  and 
cut  to  the  bench  L.  also  sprawl  on  floor.  Sub- 
stitutes to  bench  at  back,  Ross  with  subs,  who 
are  not  dirty  like  the  team.  Ross  sits  on  R.  end 
of  bench.  Men  w'ear  blankets.  FRANK  takes  off 
his  blanket  and  puts  it  under  NASH'S  head,  then 
sits  on  floor.  Rubbers  sponge  off  faces  of 
team  and  during  the  following  DICK  bandages 
FRANK'S  left  hand,  JOSH  bandages  NASH'S 


/42  STRONGHEART. 

leg  and  TAD  bandages  TAYLOR'S  head.  Also 
looks  the  other  men  over  to  discover  any  hurts. 
The  men  sit  without  speaking  and  keep  up  a 
deep  panting  until  BUCKLEY  starts  to  speak  to 
them.  After  the  team  gets  on,  there  is  a  short 
pause,  then  enter  BUCKLEY  in  a  long,  gray  coat 
and  soft  hat.  His  voice  is  heard  in  the  distance 
before  he  enters.  As  he  nears  the  door  his  voice 
grows  louder.  He  says  "  Athletes,  my  eye.  Do 
you  think  you  can  make  athletes  out  of  a  bunch 
of  cigarette  smoking  cocktail  drinking  idiots?" 
Then  he  enters  R.  3  and  going  down  in  the  R. 
corner  stands  surveying  the  men  with  deepest 
contempt  and  scorn  on  his  face.} 

BUCKLEY.  Well,  you're  a. pretty  fine  lot  of  football 
men,  you  are.  You  ought  to  be  out  somewhere  play- 
ing ping  pong.  Do  you  men  realize  that  the  eyes  of 
the  University  are  on  you?  That  if  you  lose  this 
game  you're  a  disgraced  team  without  a  single  damn 
chance  to  redeem  yourselves?  I  never  saw  a  team 
play  such  a  silly  game  way  up  in  the  air,  high  as  hell 
all  the  time.  Ross,  come  over  here.  You  play  ts^kle 
next  half.  (Ross  crosses  to  lower  end  of  bench  L.) 
Thome,  you've  got  to  keep  low.  You  missed  your 
tackle  twice.  Now  if  you  do  that  again,  you  come 
off  this  team.  Three  times  they  got  through  you, 
and  the  second  time  the  whole  damn  line  came 
through.  You  ends,  whip  up  your  speed,  whip  it  up. 
Get  down  that  field  and  be  waiting  for  the  ball,  and 
when  the  man  catches  it,  kill  him,  down  hard  in  his 
tracks.  Frank,  (FRANK  crosses  down  to  him)  keep 
closer  on  defence,  keep  your  eye  on  that  ball  and  fight 
for  every  drop  there  is  in  you.  (FRANK  goes  back 
up  stage.  BUCKLEY  turns  to  team)  For  Heaven  help 
this  aggregation,  if  you  lose.  Livingston,  don't  get 
penalized:  you've  cost  the  team  twenty  yards  to-day. 
And  you  backs,  don't  get  fooled,  if  a  play  don't  smell 
good  to  you,  keep  out  of  it  till  you  see  where  the  ball's 


(STRONGHEART.  43 

going.  Saunders,  fight;  fighf — you're  a  good  center 
but  you're  too  pacific.  Don't  be  so  damned  polite. 
Get  into  the  other  man  and  kill  him.  Get  mad, 
damn  it  all,  get  mad.  0 — 0 — 0 — I  don't  seem  to  be 
able  to  talk  a  spirit  of  fight  into  this  team.  You're 
not  making  an  afternoon  call,  you're  playing  football, 
so  fight  for  it  every  inch  of  the  game.  If  you  do  we 
can  pull  it  through.  No  one  scored  last  half  so  they 
think  they  can  win.  But  they  can't  if  you'll  only 
show  you're  true  blue  and  smash  it  in.  You  men 
have  been  relying  too  much  on  Strongheart  and  Dick, 
but  they  can't  play  the  whole  game  by  themselves. 
Break  up  their  interference  and  kill  the  ends.  Why 
you  haven't  put  a  single  end  out  of  business  to-day. 
Now  when  you  go  out  on  that  field  you  win  this 
game.  It's  going  to  be  hard  as  hell  but  you  can  do  it. 
And  remember  that  you're  representing  your  Univer- 
sity, and  you've  got  to  win  this  game  if  it  kills  the 
whole  damn  team  !  That's  all. 

(He  turns  from  men  who  begin  to  talk  in  low  tones 
among  themselves,  objecting  to  being  roasted  so 
unmercifully  when  they  have  put  up_a  very  stiff 
game,  no  one  having  scored.  DICK  crosses  to 
window,  BILLY  too.) 

STRONGHEART.  (rising  from  floor  in  front  of  NASH 
and  crossing  down  to  BUCKLEY  R.  c.  Ross  acting 
nervously  on  bench  L.)  I  say,  Buckley,  look  out  for 
your  freshman  tackle  there.  He  is  so  nervous  and 
frightened  he  will  be  no  good. 

BUCKLEY.  That's  the  worst  of  having  to  put  in  a 
fool  freshman  in  the  middle  of  a  big  game. 

STRONG.  Oh,  the  boy  is  all  right,  only  you've  got 
to  make  him  mad.  Go  over  and  insult  him. 

BUCKLEY.  (looJcs  at  STRONG,  tlien  nods  assent. 
Crosses  to  Ross  and  calls  him  very  sharply)  Here 
Ross,  come  here.  (Ross  rises  and  crosses  to  him) 


44  STRONGHEART. 

Now,  I  want  you  to  understand  that  I'm  putting  you 
in  this  next  half  to  play  football,  not  puss-in-the- 
corner. 

Ross,  (nervously)     I'll  do  the  best  I  can. 

BUCKLEY.  Oh,  punk !  That's  what  you've  always 
said.  But  you  haven't  hurt  anyone  since  the  season 
began.  Now  you've  got  to  mix  it  up  with  someone 
to-day,  or  I'll  know  what  the  boys  say  is  true. 

Ross.    Why,  what  do  you  mean  ? 

BUCKLEY.  They  say  you're  afraid  to  get  in  the 
game.  That  you  want  the  name  of  belonging  to  the 
team,  but  you're  afraid  to  fight  for  it.  (  BILLY  starts 
to  cross  to  L.  slowly) 

Ross,  (getting  mad)     Who  the  devil  said  that? 

BUCKLEY.    Never  mind. 

Ross,  (madder)     Do  you  say  it  yourself? 

BUCKLEY.  I  think  from  the  way  you  play  it's 
quite  likely. 

Ross,  (wild)  Look  here.  Do  you  think  I'm  going 
to  let  you  or  any  other  man  call  me  a  coward  ?  No ! 
(throws  down  head  guard)  You  take  that  back  or 
coach  or  no  coach  I'll 

( BILLY  steps  down  and  shoulders  Ross  to  end  of 
bench.    Sits  him  down  hard.) 

BILLY.  All  right,  old  man,  take  it  out  on  the  other 
team. 

(Ross  very  angry  fights  him  all  the  way  back  to 
bench.) 

STRONGHEART.  (to  BUCKLEY)  That  is  all  right. 
He  will  play  good  football  now. 

(JOSH  exits  R.  3.    DICK  crosses  to  STRONG.) 
.    Well,  Strongheart,  they're  not  easy  to  beat, 


STRONGHEART.  45 

STRONG.  No.  But  we  will  do  it.  They  haven't 
given  us  that  3-16-8  play  yet. 

DICK.  Maybe  Frank's  afraid  I'll  miss  it.  And 
you  know  how  much  depends  on  this  game  for  me. 

STRONG.  Dick,  you  are  the  best  "  back "  in 
America,  arid  you  will  win  this  game  for  Columbia, 
and  for  "her"  on  3-16-8.  Now,  don't  get  down 
about  it.  Whoever  she  is,  we  will  make  her  proud 
of  you  next  half. 

(STRONG  and  DICK  go  up  stage  c.    JOSH  comes  to 
door  R.  3.) 

JOSH.  Say  Mr.  Buckley,  Mr.  Farley  the  manager 
of  the  other  team  wants  to  speak  to  the  Captain. 

(All  men  rise  and  say  "  FARLEY  ?  "  "  What's  that  ?  " 
etc.,  In  tones  of  surprise  and  wonder.  BUCKLEY 
crosses  to  R.  3.) 

BUCKLEY.  Farley?  (turning  L.)  Frank,  look 
here.  (FRANK  crosses  to  him)  Farley  wants  to 
speak  to  you. 

FRANK.    Well,  he'd  better  come  in  here. 

BUCKLEY,  (to  JOSH)  All  right,  bring  him  in. 
(Josn  exits.  BUCKLEY  turns  to  men)  Now,  the 
manager  of  the  other  team  is  coming  in  here.  What 
he  wants  I  don't  know.  But  I  want  this  team  to 
look  pleased  about  the  game,  (to  NASH,  who  is 
lying  on  floor)  Try  and  sit  up  Tom.  (NASH  does 
so,  helped  by  TAD  and  STRONG.)  Here  he  comes. 
Now  damn  you  look  happy ! 

(Everyone  puts  on  a  very  broad  smile.  Enter  JOSH 
R.  3  followed  by  FARLEY.  FARLEY  is  dressed 
in  a  long  loose,  overcoat,  soft  felt  hat  with  wide 
brim  and  wears  a  side  line  badge.  Pauses  at 
door.  All  look  at  him.) 


46  STRONGHEART. 

FRANK,  (crossing  to  R.)  Come  in,  Farley.  You 
wished  to  see  me  ? 

(DiCK  sits  on  R.  end  of  the  bench.) 

FARLEY,  (crossing  down  R.)  Yes,  Nelson.  I  tried 
to  see  you  before  the  first  half,  but  could  not  get  at 
you.  I  came  on  rather  a  disagreeable  errand,  so  I'd 
better  come  right  to  the  point.  (FRANK,  BUCKLEY 
and  FARLEY  stand  together  during  this  scene  ex- 
treme R.)  There's  a  man  somewhere  in  Columbia 
football  affairs  that  ought  to  be  kicked  out. 

FRANK.    What  do  you  mean? 

FARLEY.  I  mean  that  a  complete  list  of  your 
signals  came  to  me  by  mail  yesterday. 

FRANK.  Why,  it's  impossible.  What  motive  could 
make  one  of  our  men  betray  his  team?  I  can't  be- 
lieve it. 

FARLEY.  Well,  I've  heard  from  a  reliable  source 
that  some  Columbia  man  has  been  backing  our  team 
heavily.  I  suppose  it  was  the  same  man  who  sent  us 
the  signals-,  and  thought  you  might  like  to  know 
about  it. 

FRANK.  Then  you  knew  our  signals  during  the 
first  half? 

FARLEY.  Hold  on,  Nelson.  We  make  sportsmen 
at  our  college,  too.  Not  one  of  my  team  has  seen 
this  list  except  myself,  (takes  it  out  of  pocket) 
We'll  try  to  win  this  game  without  any  help  from 
Columbia.  I  give  you  my  word  of  honor  that  I  my- 
self have  not  read  this  list. 

FRANK.  I  beg  your  pardon,  Farley,  I  was  too 
quick.  Your  word  is  quite  sufficient,  (extends  his 
hand,  FARLEY  takes  it) 

FARLEY.  Well,  I  won't  keep  you  any  longer.  I've 
only  done  what  I  thought  was  the  square  thing  in 
bringing  this  back,  (hands  FRANK  the  envelope) 
Now,  it's  up  to  you.  I'll  see1  you  later. 


STEONGHEAET.  47 

(Exits  R.  3  in  a  dead  silence.    As  soon  as  he  is  off 
FRANK  turns  to  team,  mad.) 

FRANK.  Boys,  some  member  of  this  squad  is  no 
Columbia  man,  and  has  got  to  be  kicked  off  this  team 
before  next  half,  (holds  up  list)  Our  signals  have 
been  sent  to  Farley. 

ALL  THE  MEN.  (rising)     What ! ! ! ! 

(DicK  crosses  down  c.  between  STRONG  and  FRANK.) 
BUCKLEY.     Yes,   who's   done   this?      (crosses   to 

L.   C.) 

THORNE.  (crossing  down  L.  c.)  Maybe  you  can 
tell  by  the  writing. 

(FRANK  starts  to  open  the  list  "but  cannot  hold  it  in 
his  L.  hand  which  is  bandaged.  He  hands  list 
to  STRONG.) 

FRANK.    Open  it  for  me. 

(STRONG  takes  list,  opens  it,  sees  writing,  starts  and 
puts  the  list  behind  him.) 

BILLY,  (when  STRONG  starts  at  seeing  list)  Well, 
who  is  it  ?  Do  we  know  him  ? 

FRANK,  (holding  out  hand  for  list)    Let  me  see  it. 

STRONG.  Do  you  not  think  we  had  better  wait 
until  after  the  game  ? 

THORNE.     No.    Let's  see  now. 

FRANK.     Give  it  to  me. 

STRONG.     Not  now,  Frank. 

FRANK.  Why,  what's  the  matter?  Do  you  know 
the  writing? 

STRONG,  (looking  at  him  steadily)     Yes. 

(The    team    give    a    start    and    begin    to    suspect 
STRONG.) 


48  STEONGHEAKT. 

THORNE.  This  concerns  the  whole  team  and  the 
whole  team  should  deal  with  it. 

DICK,  (crossing  down  between  STRONG  and  FRANK) 
Show  it  to  us,  Strongheart.  A  man  who  would  do  a 
thing  like  this  deserves  no  consideration. 

STRONG.    You  advise  me  to  show  it  Dick  ? 

DICK.    Yes,  of  course. 

THORNE.    Come,  we  can't  wait  all  da}r. 

STRONG.    Why  are  you  so  anxious  to  see  it  now? 

THORNE.  Because  we  have  a  right  to  know  that 
the  man  whose  shoulder  is  against  our  own  is  an 
honest  man.  Come,  will  you  show  it  to  us  or  not  ? 

STRONG.    I  will  not. 

THORNE.  If  you  don't  it  will  look  as  if  you  hud 
reasons  for  concealing  it. 

STRONG.    What  do  you  mean,  Thome? 

THORNE.  It  will  look  as  if  the  writing  were  your 
own. 

STRONG.  Thorne!  (makes  a  move  toward 
THORNE,  DICK  holds  him) 

THORNE.  Show  me  the  list  and  if  Fm  wrong  I'll 
apologize.  I've  got  nothing  against  your  personally, 
but  I  want  to  see  the  man  who  wrote  that  kicked 
off  the  team. 

BILLY,  (down  L.)  Boys,  you  know  Strongheart. 
If  he's  got  a  reason  for  not  showing  us  this  until 
after  the  game,  it  must  be  all  right.  I  say  we  leave 
it  until  then. 

(The  extra  men  should  be  divided  into  several  squads 
of  two  or  three  men.  Each  squad  with  different 
lines.) 

ALL  THE  MEN.    No  ?  no.    Show  it  to  us  now. 
STRONG,  (to  DICK)     You  do  not  doubt  me,  Dick? 
DICK.     Old  man,  if  the  signals  had  been  in  my 
writing,  would  you  have  doubted  me? 

STRONG,  (firmly)     No,  Dick,  I  would  not. 


STRONGHEART.  49 

(DiCK  moves  up  stage  and  to  the  L.  a  bit.) 

FRANK,  (to  STRONG)  I  don't  doubt  you  either, 
old  man,  but  we  must  make  some  explanation  to  the 
team.  Come,  out  with  it. 

STRONG.  I  have  no  explanation  to  offer,  (to 
team)  But  boys,  I  give  you  my  word  of  honor 

THORNE.     It  is  your  honor  that  is  in  question. 

TPIORNE.    I  shall  not  answer  for  it  to  you,  Thorne. 

FRANK.  Thorne,  the  team  has  elected  officers  to 
manage  its  affairs,  and  we  don't  care  for  your  help. 

THORNE.  Then,  why  don't  the  officers  manage  its 
affairs  and  not  let  an  Indian  come  here  out  of  a 
wigwam  and  run  things  to  suit  himself. 

(DiCK  and  BUCKLEY  stop  STRONG  and  THORNE.) 

ALL  OF  THEM.  Show  us  the  list.  Let's  see  it  now. 
We've  got  a  right  to  see  it. 

(Kept  up  strong  until  FRANK  quiets  them.    STRONG 
crosses  to  R.    DICK  and  BUCKLEY  go  down  L.) 

FRANK,  (going  up  to  men)  Boys,  it's  better  to 
handle  a  matter  like  this  with  the  greatest  secrecy. 
Meet  at  my  house  to-morrow  at  five  o'clock  and  we'll 
talk  things  over.  Until  then  not  a  word  out  of  this 
team. 

DICK.  And  remember,  boys,  that  Strongheart  has 
not  admitted  that  it  is  his  writing. 

THORNE.  That's  a  trick  to  use  to-morrow  and  I 
demand  in  the  name  of  the  team,  that  at  least  one 
man  see  that  list  now. 

FRANK.     Why  ? 

THORNE.  So  that  to-morrow  we  shall  know  it  has 
not  been  changed. 

ALL  THE  MEN.  Yes.  Do  that.  That's  a  good 
plan.  Show  it  to  someone. 


50  STROtfGHEART. 

(Kept  up  until  FRANK  quiets  them.) 

FRANK.  All  right,  boys,  but  you're  making  a 
mistake,  (turning  to  STRONG)  Strongheart,  will 
you  show  the  list  to  Billy? 

STRONG.    Yes. 

BILLY,  (crossing  to  c.  and  speaking  to  team  and 
THORNE)  I'll  look  at  it  for  you,  but  I  want  to  say 
right  here,  that  if  it's  signed  with  his  name  and  has 
got  two  witnesses,  /  don't  believe  it.  (crosses  to 
STRONG  R.,  then  talk  among  themselves) 

STRONG.  You  understand,  Billy,  not  a  word  of  this 
until  to-morrow. 

BILLY.    Sure,  word  of  honor.    Let's  see  the  thing. 

(STRONGHEART  shows  it  to  him,  BILLY  starts  with 
amazement.) 

BILLY.    Judas  Iscariot!    That's  Dick's  writing. 

STRONG.  Hush!  If  Dick  knows  a  word  of  this 
he  will  go  all  to  pieces  and  we  will  lose  the  game. 

BILLY.    So  that's  why  you're  taking  the  blame. 

STRONG.  We  have  got  to  win  this  game  Billy. 
And  there  is  a  girl  out  there  who  must  see  Dick  win  it. 

BILLY.    Strongheart,  I'm  proud  I  know  you.     (an 
idea  strikes  him)     Holy  cat!     If  that's  Dick's  writ- 
ing it  must  be  the  list  he  gave  me. 
'  STRONG.    How  did  it  get  out  of  your  hands? 

BILLY.  Why— I've  got  to  keep  my  face  shut, 
Strongheart,  for  if  I  squeal  now  it  lets  in  a  girl. 

STRONG.    A  girl  ? 

BILLY.    Yes.    I  gave  the  list  to  M a  girl,  and 

she's  made  a  fool  of  me.    But  it  isn't  right  for  you  to 
take  the  blame  and  I'll  tell  the  fellows 

STRONG.    That  will  not  help  matters  now,  Billy. 

BILLY.  Well,  I  suppose  we've  both  got  to  keep 
mum,  to  shield  a  woman's  honor,  but  I  wish  I  could 
take  the  disgrace  for  you.  I — Oh,  damn  everybody. 
(turns  away  up  stage — to  team) 


STRONGHEART.  51 

STRONG,  (turning  to  team  L.)  Boys,  I  want  to 
say  one  thing.  I  do  not  blame  you  for  doubting 
my  word,  for  the  thing  must  look  very  suspicious. 
But  if  you  watch  my  play  next  half,  you  will  see 
which  college  I  want  to  win.  (a,  slight  stir  among  the 
team) 

THORNE.     (stepping  forward)     Why  you  can't — 
FRANK,  (quickly  and  loudly)     Shut  up,  Thome! 

(DiCK  pulls  FRANK  back  and  FRANK,  DICK  and 
BUCK  talk  in  pantomime  about  keeping  STRONG 
out  of  the  next  half.  Finally  FRANK  crosses  to 
STRONG  and  DICK  and  BUCK  go  down  L.) 

FRANK.  Strongheart — I'm  afraid  that — damn  it 
old  man,  you  know  what  I've  got  to  say  and  Low  it 
hurts  me  to  say  it,  but  as  Captain  of  the  team  I  have 
no  choice. 

STRONG.  You  mean — they  will  not  let  me  play 
next  half  ? 

FRANK.    Yes,  and  I  can't  help  it. 

STRONG.  But  I — do  you  realize,  Frank,  that  this 
means  disgrace? 

FRANK.  It's  as  hard  for  me  as  it  is  for  you,  old 
man.  (turns  to  team)  Boys,  don't  you  think  we'd 
better  keep  Strongheart  in  the  game  ? 

ALL  THE  MEN.  No.  No.  Not  on  your  life.  We 
can't  run  any  risks  this  next  half.  Too  much  depends 
on  it. 

BILLY.    Let's  keep  him  in,  boys. 

THORNE.  No.  Duty  to  the  team  must  come  before 
personal  friendship  and  we  have  no  right  to  let  a 
man  play  who  has  sold  the  game. 

STRONG.  Boys,  can't  you  trust  me  until  to- 
morrow? Nothing  has  been  proved  against  me,  and 
yet  you  make  my  disgrace  public. 

DICK,  (to  team)  It's  a  terrible  thing  to  disgrace 
a  man.  Have  we  the  right  to  do  it  on  mere  suspicion  ? 


52  STRONGHEART. 

THORNE.  (down  to  DICK  L.)  It  is  necessary  for 
the  good  of  the  team. 

FRANK.  The  good  of  the  team  requires  that  he 
play. 

THORNE.  (up  to  FRANK  R.)  We  don't  know  that 
he'll  play  his  game.  It's  too  dangerous  and  we 
haven't  the  right  to  risk  it,  have  we  boys?  (turns  to 
men) 

ALL  THE  MEN.  No.  It's  too  important  that  we 
win  this  next  half.  We  can't  take  any  chances.  He 
ought  to  be  kept  out. 

ONE  OF  THE  MEN.  (stepping  out)  Kick  him  off 
the  team ! 

BILLY,  (throwing  the  man  back  and  going  c.) 
That's  about  enough  from  you.  Now  you  hear  me 
chirp  for  a  while.  Some  of  this  push  is  going  to  be 
at  Frank's  to-night  and  Strongheart's  going  to  be 
with  us,  and  I  want  to  remark  right  here  that  if  any 
yap  out  of  this  gang  let's  a  hint  of  this  business  get  in 
front  of  his  teeth,  he'll  stop  going  to  parties  for  about 
three  months. 

THORNE.  (crossing  to  BILLY)  Look  here,  Billy, 
you're  making  too  much  fuss  about  this  Indian 
(movement  from  STRONG)  and  I  shall  say  what  I 
please  without  your  permission. 

BILLY.  If  you  open  your  mouth  about  this  to- 
night, Ralph  Thome,  girls  or  no  girls,  I'll  turn  you 
inside  out. 

BUCKLEY,  (in  extreme  L.  corner  down  stage)  Say, 
stop  this  infernal  private  scrapping.  We've  got  a 
game  to  think  about  and  time's  almost  up.  "  Varsity 
this  way. 

(Team  moves  down  to  him  L.  and  forms  circle  with 
their  arms  on  each  other's  shoulders  and  he  in 
the  c.  of  the  ring  explaining  the  next  plays  in 
pantomime.) 

STRONG,  (stopping  FRANK)  Frank,  have  you 
asked  Thome  to  your  house  to-night  ? 


STBONGHEART.  53 

FRANK.    Yes.    But  now  I'll  tell  him  not  to  come. 

STRONG.    No,  he  must  be  there. 

FRANK.     But,  didn't  you  hear? 

STRONG.  Yes.  That  is  why.  Now,  do  as  I  say, 
old  man,  I  have  a  reason. 

FRANK.  All  right,  he  may  come,  but  I'd  like  to 
punch  his  head. 

BUCKLEY.    Come  on,  men,  get  ready,  get  ready. 

(Circle  breaks  up  and  men  move  up  stage  looking 
over  their  harness  and  fixing  their  clothes  gen- 
erally preparing  for  the  second  half.  BUCKLEY 
crosses  to  doors  R.  3,  and  stands  looking  at  the 
team,) 

FRANK.    Strongheart,  old  man,  I 

STRONG.  It's  all  right,  Frank.  If  I  were  in  your 
place,  I  should  do  as  you  have  done. 

(FRANK  shakes  his  hand  and  then  joins  BUCKLEY  up 
stage.      Pantomines    to    BILL    who    is    talking    to 
BUCKLEY  to  go  down  stage  and  talk  to  STRONG 
who  has  crossed  to  c.    BILLY  crosses  down.) 

BILLY,  (to  STRONG)  Strongheart,  you're  saving 
this  game  by  keeping  Dick  in  it.  There  are  some 
things  a  fellow  can't  say,  old  man,  but  I  want  to  tell 
you  that —  (explosively)  God  help  the  man  who 
plays  against  me  next  half,  (turns  up  to  stage 
quickly  to  team.  STRONG  crosses  toward  L.  DICK 
crosses  to  him) 

DICK.    Is  there  anything  I  can  do,  old  man? 

STRONG.  Yes,  Dick,  hit  the  line  low,  and  when  it 
comes  to  3-16-8  remember  I  am  not  behind  you. 

(They  grasp  hands.    DICK  goes  up  c.) 
BUCKLEY.     (R.  c.)     Now  then,  men,  don't  forget 


64  STRONGHEART. 

to  smash  it  in.     Everybody  out  and  fight  for  Co- 
lumbia. 3 

(Men  give  a  loud  shout  and  exit  R.  3.    All  exit  but 
STRONG  who  is  on  bench  L.,  NASH  who  is  on 
floor  c.,  head  towards  door,  and  JOSH  who,  as  the 
last  men  exit,  brings  a  blanket  down  and  lays  it 
around  STRONG'S  shoulders.) 
JOSH.       Don't     ketch     cold,     Mr.     Strongheart, 
(crosses  to  door)     Dat's  bum  luck,     (exits  R.  3) 

STRONG,  (after  a  moment's  silence)  She  told  me 
to  win  it  for  her — my  last  game,  (looks  at  signals. 
On  off  stage  cue  "  Ready1?  "  "  Yes,  Columbia  ready? 
Yes  ".  NASH  rises  up  a  little  as  if  to  see  out  window. 
Then  a  burst  of  cheering  and  sound  of  a  kick.  Start- 
ing for  window)  It's  up! 

STRONG,     (starting  for  window)     It's  up ! 

(NASH  turns  on  him  quickly  with  an  expression  of 
suspicion  and  watches  him  intently.  STRONG 
walks  up  and  down  L.,  trying  to  control  his  de- 
sire to  get  out  into  the  game.  On  -cue  outside 
"Tear  'em  up,  touch  down"  NASH  speaks.) 

NASH.  Strongheart,  that  thing's  not  in  your  writ- 
ing, is  it? 

STRONG.    No,  Tommy. 

NASH,  (joyfully)  I  knew  it.  Now,  tell  me 
what's  doing  out  there. 

(Struggles — STRONGHEART  crosses  to  window  and 
NASH  gets  in  a  position  so  that  he  faces 
STRONG.) 

STRONG.  I  will.  (at  window)  Oh,  Tommy, 
they're  driving  us  back.  It's  on  our  50  yard  line. 
Now,  look  out  for  the  left  end.  I  thought  so,  there 
it  goes  around.  Now,  Thorne,  low — Good  God, 
Tommy,  Thome's  missed  it.  They've  got  a  clear 


STRONGHEART.  55 

field,  no,  no,  there's  Frank.  Go  on,  Frank,  go  on, 
you've  got  him.  4  Now,  drive,  drive!  Good  work, 
good  work,  he  got  him,  Tommy. 

NASH.    Where  is  it?    Where's  the  ball? 

STRONG.  On  OUT  fifteen  yard  line.  Oh,  now,  boys, 
you've  got  to  hold  'em.  5  Now,  Billy,  get  into  them, 
get  into  them.  Now,  push,  shove  them  back.  Kill 
them,  why  don't  you  kill  them.  That's  it,  that's  it, 
it's  down  for  no  gain,  Tommy,  6  we  held  them. 
What's  the  matter?  Oh,  someone  is  hurt,  of  course 
just  at  this  time.  Why  can't  they — what?  (de- 
lighted) Tommy,  it's  one  of  their  men — it's  their 
centre.  Billy  rough-housed  him.  7  (crosses  and 
shakes  NASH'S  hand.  Shouts  out  window)  Good 
work,  Billy. 

WARN  CURTAIN. 

NASH.    Is  he  out  of  it  ? 

STRONG,  (crossing  to  window)  No,  he  is  going 
on  playing.  8  Now,  they  are  ready.  It  is  our  ball. 
Oh,  Tommy,  it  is  3-16-8. 

NASH.    3-16-8. 

STRONG.  Oh,  if  we  are  going  to  win  it  is  on  this 
play.  Oh,  I  ought  to  be  in  it.  Now,  careful,  boys,  it 
is  our  one  chance.  9  It's  up.  Tommy.  Good  work, 
Dick,  good  work.  Look  out,  Billy,  look  out  for  their 
end.  That's  it — kill  him.  Good  work,  boys.  Oh, 
Tommy,  they're  through,  no  one  but  Burns  in  front 
of  them.  Run,  Dick,  run,  run.  Look  out,  look  out, 
for  Burns.  Oh,  he's  tackled.  What?  Billy?  Good 
work,  Tommy,  Billy's  got  them  both  in  his  arms.  Oh, 
he  cannot  do  it.  Yes,\e  can.  (NASH  starts  to  crawl 
to  STRONG)  Good  work,  Billy,  go  on  just  a  yard  fur- 
ther, just  a  yard.  That's  it,  Billy,  that's  it.  Over 
the  line,  over  the  line.  Oh— he  did  it,  Tommy. 
(NASH  snatches  hold  of  STRONG'S  leg  and  struggles 
up  and  looks  out  of  window)  He  did  it.  We've  won 
$fe  game,  we  have  won  the  game.  10 


56  STKONGHEAKT. 

XSTRONG  and  NASH  shout  and  wave  their  arms  to  the 
team  as  they  come  on.  Terrible  yell  outside  and 
then  all  the  men  come  piling  onto  the  stage, 
through  the  window  and  door,  shouting  for  all 
they  are  worth.  BUCKLEY  comes  in  last  and 
goes  down  to  the  curtain  line  c.  and  raises  his 
hands.  The  men  stop  their  indiscriminate  yell- 
ing and  moving,  and  give  this  yell : — 

COLUMBIA ! 

COLUMBIA ! 

COLUMBIA! 

COLUMBIA! 

COLUMBIA ! 

COLUMBIA ! 

RAY— BAY— KAY,  C-0-L-U-M-B-I- A ! 

CURTAIN. 

(Followed  by  a  long,  strong  shout  which  keeps  up 
until  second  curtain.  First  curtain  comes  down 
on  the  letter  "  A  "  in  the  yell.  Shout  should  die 
out  gradually.  On  entrance  FRANK  and  DICK 
cross  down  to  STRONG  and  shake  hands  with 
him.) 

CURTAIN. 
SONGS  OFF  STAGE. 

SECOND  ACT. 
LEADER'S  LIST. 

1. 
(Tune — "  Navajo") 

C-0-L-U-M-B-I-A, 

Onward,  Columbia,  victory  to-day,  Columbia, 


STRO^GHEART.  57 

Cheer  our  team,  boys,  game  through  and  through, 
Cheer  for  the  White  and  Blue. 

(A  cheer.) 

C-0-L-U-M-B-I-A,     Eay— Eay— Eay— C-0-L-U-M- 
B-I-A. 

(A  yell), 
2. 

Tear  'em  up,  touch  down, 
Tear  'em  up,  touch  down, 
Tear  'em  up,  touch  down. 
Hold  'em,  hold  'em,  hold  'em,  hold  'em. 

(A  yell.    A  whistle.    Entrance  of  men.) 
3. 

fight  for  Columbia ! 

(A  loud  short  yell,  and  team  exits.) 

C-0-L-U-M-B-I-A,       RAY— KAY— RAY,   C-0- 
L-U-M-B-I-A. 

(Tune — "Dolly  Gray".) 

The  good  old  Blue  and  White  will  fix  you, 
Round  your  ends  they'll  quickly  glide, 
Something  tells  me  that  the  winners 
Will  come  from  Morningside. 
See  them  through  the  centre  gaining 
There's  a  touch  down  right  in  sight, 
Hark !    Columbia  men  are  calling, 
GOOD  WORK,  Blue  and  White. 

(A  yell) 


58  STROtfGHEART. 

Eeady?    Yes.    Columbia  ready?    Yes. 

(A  whistle  followed  by  a  yell.    Tune — "  Down  where 
the  Wurzberger  flows.") 

Oh,  it's  down,  down,  down,  where  the 

Blue  and  White  goes,  goes,  goes, 

All  the  town,  town,  town,  will  soon  know  how  we 

vanquish  foes, 

A  smash  thro'  the  centre,  a  dash  round  the  end, 
Oh,  sure,  then,  it's  useless  your  goal  to  defend, 
Five  yards  may  be  fine,  but  a  touch  down  for  mine, 
Down  the  field  Blue  and  White  goes. 
Oh,  it's  down,  down,  down,  where 

Hoo-rah !    Hoo-rah  !    Hoo-rah ! 
Ray,  ray,  ray,  ray,  ray ! 
Y-a-a-a-a-a-a-a-a-a-ah ! 

Rip  'em  up,  tear  'em  up, 
Rip  'em  up,  tear  'em  up, 
Rip  'em  up,  tear  'em  up, 
Rip  'em  up,  tear  'em  up. 

(A  long  yell  rising  very  high,  then  going  down,  then 
swelling  again.) 

(Tune— "'Battle  Cry  of  Freedom  ".) 

Oh,  it's  tackle  hard  and  low,  boys, 
It's  nail  'em  where  they  stand, 
Ray,  ray,  ray,  for  old  Columbia, 
And  it's  every  play  a  "  go  ",  boys, 
You're  the  finest  in  the  land, 
Ray,  ray,  ray,  for  old  Columbia. 

(Refrain.) 
Columbia,  forever,  hurrah,  boys,  hurrah, 


STRONGHEART.  59 

We  are  the  people,  we  are,  yes,  we  are. 
Then,  it's  push  'em  down  the  field,  boys, 
We've  got  'em  on  the  run, 
Ray,  ray,  ray,  for  old  Columbia. 

(A  yell.) 

4. 
(Refrain  of  "Battle  Cry  of  Freedom".) 

Columbia  forever,  hurrah,  boys,  hurrah, 
We  are  the  people,  we  are,  yes,  we  are. 
Then  it's  push  'em  down  the  field,  boys,  ' 
We've  got  'em  on  the  run, 
Ray,  ray,  ray,  for  old  Columbia. 

5. 
Hold  'em,  hold  'em,  hold  'em,  hold  'em. 

(Tune— "  Battle  hymn  of  the  Republic".)' 

Glory,  glory  for  Columbia, 
Glory,  glory  for  Columbia, 
Glory,  glory  for  Columbia, 
This  is  Columbia's  day. 

6. 
(LONG   YELL— WHISTLE— PAUSE.) 

7. 
(LONG  YELL— HAND  CLAPPING.) 

Hoo-rah  !    Hoo-rah  !    Hoo-rah  ! 
Ray,  ray,  ray,  ray,  ray. 
Y-a-a-a-a-a-a-a-a-h ! 


60  STRONGHEART. 

8. 
(WHISTLE  FROM   REFEREE.) 

9. 
(Yell,  followed  by  "Battle  Cry  of  Freedom.") 

Oh,  if  s  tackle  hard  and  low,  boys, 
If  s  nail  'em  where  they  stand, 
Ray,  ray,  ray,  for  old  Columbia. 
And  if  s  every  play  a  "  go  ",  boys, 
You're  the  finest  in  the  land, 
Ray,  ray,  ray,  for  old  Columbia. 

(Refrain.) 

Columbia,  forever,  hurrah,  boys,  hurrah, 
We  are  the  people,  we  are,  yes,  we  are. 
Then,  it's  push  'em  down  the  field,  boys, 
We've  got  'em  on  the  run, 
Ray,  ray,  ray,  for  old  Columbia. 

10. 
(Yell.) 

(This  yell,  after  the  first  strong  outburst,  is  kept 
up  quietly  in  a  high  key,  ivhile  the  men 
get  to  their  position  outside  of  backing  R.  1  E. 
On  the  speech  from  the  stage,  "  We've  won  the 
game  ",  it  breaks  into  a  high,  long,  strong  shout 
and  the  men  all  rush  on  stage  yelling  for  all 
they  are  worth.  They  grab  each  other  and  hug 
and  roughhouse  the  scene  generally  with  move- 
ment and  noise.  BUCKLEY  enters  last  and  goes 
down  to  the  curtain  line  c.  and  raises  his  hands. 
When  he  does  so  all  the  men  stop  and  give  him 
their  attention.  On  the  first  drop  of  his  hands 


STRONGHEART.  61 

they  give  a  yell  with  all  the  strength  in  their 
lungs. — 

COLUMBIA ! 
COLUMBIA! 
COLUMBIA! 
COLUMBIA! 
COLUMBIA ! 
COLUMBIA! 
Ray— ray— ray,  C-0-L-U-M-B-I-A ! 

Then  the  yell  starts  again  and  is  kept  up  very 
loudly  until  the  second  curtain,  or  "  Clear "  is 
called.  The  yell  does  not  stop  abruptly,  but 
should  die  out  gradually.) 

ACT  III. 
OFF  STAGE  MUSIC  CUES. 

I.  Two  step. 
(Takes  up  curtain.) 

Stop — "  It  is  interesting,  isn't  it  ?  " 

II.  Waltz. 

Warning — "  Sister  of  the  hero  of  the  hour?  " 
Start — "  /  don't  think  she's  quite  recovered  yet." 
Stop — "  Oh,  Molly,  what  am  I  to  do?  " 

HI.  Two  step. 

Warning — "  Will  you  sit  out  this  dance  with  me  f  " 

Start — "  That  was  yesterday." 

Stop — "Been  on  another  tear,  Reade?" 

IV.     Waltz.     ("  Amoureuse.") 
Warning — "  Hello,  Strongheart,  you're  late." 


62  STKONGHEAKT. 

Start — "  Won't  talk  to  anyone  but  you." 
Stop — "Dorothy's  exit  R.  3  E." 

V.  Two  step. 

Warning — "  //  you  couldn't  trust  me  f  " 

Start — "  There's  nothing  to  lie  done." 

Stop — "  You're  sure  nothing  will  happen  to  him  f 

VI.  Waltz. 

Warning — "  Finish  your  cigar,  Thorne." 
Start — "  It  will  not  help  you  now." 
Stop — "/  ask  your  consent." 


AVT  III. 

SCENE: — Library  in  the  home  of  the  NELSON'S. 
TIME. — Evening  of  the  same  day. 

A  large,  richly -furnished  room,  hung  with  tapestries. 
Furniture  and  decorations  in  dark  colors.  Large 
window  at  back  c.  with  curtains.  The  curtains 
are  drawn  apart.  Door  to  hall  L.  1  E.  Door  to 
dancing  room  L.  3  E.  Door  to  morning  room 
E.  3  E.  Large  fire-place  R.  2  E.  Large  library 
table  with  rich  lamp  c.  Book  rack  with  tele- 
graph blanks,  matches,  cigarettes,  rich  cigar 
case  with  cigar  and  matches  in  it,  box  of  marsh- 
mallows  and  hatpin  on  table  c.  Chairs  L.  and 
at  back  of  table,  settee  above  L.  3,  arm-chair  in 
front  of  fire-place — between  L.  1  and  L.  3, 
facing  down  stage.  A  large  fur  rug  in  front 
of  fire-place.  A  small  stand  with  cigarettes, 
matches,  and  a  dark-brown  bowl  with  brown 
and  yellow  chrysanthemums  below  L.  1,  chair 
in  front  of  bookcase  R.  Pedestals  with  a 
large  fern  in  a  handsome  jardiniere  in  front  of 


STROXGHEART.  63 

bookcase  L.  and  below  fire-place  R.  On  mantel, 
handsome  clock  and  candelabra,  also  box  of 
matches.  Two  light  brackets  with  rich  globes 
over  each  bookcase.  At  rise  foots  and  first  bor- 
der, white  and  amber,  full  up.  Turn  on  reds  at 
cue  from  stage  manager.  Should  be  8  red  lamps 
in  foots  on  R.  side.  Calcium  steel  blue.  Re- 
mains throughout  act.  Bunches,  white,  L.  1  B., 
to  go  out  with  foots,  first  border  and  brack- 
ets on  cue  from  stage  manager.  Bunch  light  for 
musicians  to  remain  on  throughout  act.  L.  3, 
'Calcium,  red,  in  fire-place,  also  electric  fire-log. 
Reds  in  foots,  calciums  in  fire-place  and  on 
back  drop  and  border  on  drop,  fire-log,  table 
lamp,  bunch  for  musicians  should  be  independ- 
ently connected,  to  stay  on  throughout  act. 
Everything  else  off  at  cue  from  stage  manager. 
Lights  go  on  again,  same  as  at  rise,  on  cue  from 
stage  manager. 

.(Two  step  for  rise.) 

A  dance  is  going  on  L.  3.  As  the  curtain  rises  a 
two  step  is  being  played. 

DISCOVERED:— MAUD  and  READE  at  table  c. 
MAUDE  sitting  back  of  table  feeding  READE 
marshmallowj  on  a  hatpin.  READE  leaning 
against  chair  L.  of  table,  facing  up  stage.  TAY- 
LOK  and  BETTY  down  L.  BETTY  sitting  in  chair, 
TAYLOR  standing,  smoking  and  talking  to  her. 

MAUD,  (when  curtain  is  up)  You  know,  Mr. 
Reade,  it's  awfully  nice  to  meet  a  man  who  can  talk 
real  sense. 

(Two  step  stops.) 
READE.     It  is  interesting,  isn't  it? 


64  STKONGHEAKT. 

(Enter  MOLLY  and  Eoss  L.  3.  MOLLY  crosses  down 
to  c.  and  TAYLOR  crosses  to  c.  to  greet  her  as  she 
speaks  to  him.  Ross  crosses  down  to  BETTY  and 
stands  talking  to  her.) 

MOLLY.  Ah,  Mr.  Taylor,  you  haven't  said  how-do- 
you-do  to  me  yet. 

TAYLOR,  (shaking  hands)  I  tried  to  earlier  in 
the  evening,  but  couldn't  break  through  to  you. 

MOLLY.  A  beautiful  crawl.  But  to-night  I  can 
forgive  a  member  of  the  team  anything,  (dances  to 
R.)  Oh,  isn't  it  just  splendid.  I  haven't  rested  a 
single  minute  since  we  won  the  game. 

TAYLOR.  Then,  you  like  being  the  sister  of  the 
hero  of  the  hour. 

(DOROTHY  enters  L.  3,  and  crosses  down  to  c.) 

(Warn  waltz.) 

MOLLY.  I  haven't  been  so  proud  of  anything  since 
I  put  on  my  first  long  frock. 

(Eoss  crosses  at  back  to  R.) 

DOROTHY.  You  should  have  seen  her  this  after- 
noon, Mr.  Taylor,  she  wanted  to  get  out  on  that  field 
and  help,  and  I  don't  think  she's  quite  recovered  yet. 
(crosses  to  chair  in  front  of  fire) 

MOLLY.    I  don't  want  to  recover,  thank  you. 

(Waltz  stops.) 

Eoss.  (crossing  down  to  MOLLY)  May  I  have 
a  dance,  Miss  Molly? 

(READE  crosses  to  BETTY  and  TAYLOR  crosses  up  to 
MAUDE.) 


STRONGHEART.  «5 

MOLLY.    Yes,  you  may  have  the  one  after  this. 

(Ross  writes  on  card  and  goes  up  stage  followed  by 
MOLLY.) 

TAYLOR,     (to  MAUD)     This  is  ours,  you  know. 

MAUD,  (as  they  exit)  You  know  if  s  awfully  nice 
to  meet  a  man  who  can  talk  clever  npnsense. 

TAYLOE.  I  can  talk  nonsense  all  right,  but  as  to 
its  being  clever 

(They  exit  L.  3,  followed  by  Ross.) 

RBADE.  (to  BETTY)  Shall  we  sit  it  out,  Miss 
Bates? 

BETTY,  (rising  with  a  sigh)  Oh,  no,  let's  dance. 
(exit  L.  3,  quickly) 

READE.  (starting  after  her)  Oh,  of  course,  if  you 
prefer  it.  Wait  for  me,  please,  I'm  coming,  (exit 
L.  3) 

MOLLY,  (crossing  down  toward  L.  1)  He's  late, 
isn't  he,  Dorothy? 

DOROTHY,  (crossing  and  sitting  in  chair  L.  of 
table)  What?  Who? 

MOLLY,  (crossing  to  her)  Why,  Soangataha,  of 
course.  Do  you  know,  Dorothy,  I  shouldn't  be  a  bit 
surprised  if  he  did  it  to-night. 

DOROTHY.  Why,  Molly,  what  on  earth  are  you 
talking  about? 

MOLLY.  You  dear  old  goose,  you  know  perfectly 
well  what  I  mean. 

DOROTHY.    Molly,  don't  be  absurd. 

MOLLY,  (stepping  back)  Well,  I  like  that.  You 
must  think  I'm  either  blind  or  a  man.  Why,  any- 
one who's  half  feminine  could  see  that  he's  been  head 
over  heels  in  love  with  you  for  a  year,  (crosses  and 
sits  on  arm  of  chair) 

DOROTHY.     Has  he? 

MOLLY.    Why,  of  course.    It's  a  perfect  romance. 


66  STRONGHEART. 

He  saves  your  brother's  life,  is  civilized  through  love, 
and  all  is  gas  and  gaiters. 

DOROTHY.  Molly,  if  I  ask  you  a  question,  will 
you  be  serious? 

MOLLY.    As  serious  as  I  can  be. 

DOROTHY.  Then,  tell  me,  if  he  were  in  love  with 
you,  and  asked  you  to  marry  him,  what  would  you 
do? 

MOLLY.    Am  I  supposed  to  be  in  love  with  him  ? 

DOROTHY.    Perhaps. 

MOLLY.  Well, .if  I  were  in  love  with  him,  and  he 
proposed  to  me,  I'd  say  yes  before  he'd  finished  ask- 
ing me. 

DOROTHY.    But,  his  race. 

MOLLY,  (rising  and  stepping  back)  Dorothy 
Nelson,  do  you  mean  to  tell  me  that  if  you  really 
loved  a  man,  a  thing  like  that  would  make  any  differ- 
ence? 

DOROTHY.  But,  what  would  mother  and  Frank 
say? 

MOLLY.  Oh,  they  might  be  a  little  startled  at  first, 
but  they'd  soon  get  used  to  it.  (crossing  to  chair) 
Why,  do  you  love  him,  Dorothy? 

DOROTHY,  (rising)  Oh,  I  don't  believe  it's  love, 
it's  just  fascination,  and  yet  if  it  were  love,  I — 
(turns  to  MOLLY)  Oh,  Molly,  it's  terrible  to  be 
afraid  of  love. 

MOLLY.    Dorothy ! 

DOROTHY.  This  has  been  growing  on  me  for  a 
year.  I've  fought  it  and  fought  it,  but  I  can't  put  it 
away,  (crosses  to  R.)  I'm  afraid  of  it,  Molly,  I'm 
afraid,  (turns  to  MOLLY)  Oh,  it  can't  be  love  if  I 
have  that  feeling.  And  yet,  there's  something  about 
him  that  makes  all  the  others  seem  small.  A  great 
purpose,  and  absolute  truth  in  his  eyes,  (crosses  to 
MOLLY)  Oh,  Molly,  what  am  I  to  do? 

(Waltz  starts.) 
MOLLY.     Dorothy,  when  he  speaks  to  you,  never 


STRONGHEART.  67 

mind  reasons,  just  say  to  him  whatever  your  heart 
tells  you  to  say. 

DOROTHY,     (kissing  her)     Thank  you,  dear. 

(Warn  two  step.) 

BILLY,  (entering  L.  1)  Miss  Livingston, — Good- 
evening,  Miss  Nelson.  (DOROTHY  looks  at  them, 
sees  she  is  de  trop,  smiles  and  exits  L.  3.  Ross  and 
DICK  enter  L.  3.  Ross  crosses  down  to  MOLLY'S  R., 
and  DICK,  to  back  of  table)  Miss  Livingston,  will 
you  sit  out  this  dance  with  me?  I  want  to  talk  to 
you. 

MOLLY.  I  promised  this  to  Mr.  Ross,  but  you 
may  have  the  next  one. 

(Ross  gives  her  his  arm  and  they  exit  L.  3.  Ross 
laughing  at  BILLY.  BILLY  watches  them  off, 
mad.) 

DICK.  (after  they  exit)  What's  the  matter, 
Billy?  I  thought  you  had  secured  every  two  step 
with  Molly. 

(Two  step  starts.) 

BILLY,     (crossing  to  R.)     That  was  yesterday. 

DICK,  (coming  in  front  of  table)  Something 
gone  wrong,  eh? 

BILLY,  (going  up  stage)  I've  had  a  sort  of  bunco 
game  played  on  me,  that's  all. 

DICK.    Who  by  ? 

BILLY,  (coming  down  stage)     Girl,  of  course. 

DICK.    Who  was  she? 

BILLY,  (turning  to  him)  Say,  you  talk  like  an 
examination  paper.  I  can't  tell  you  who  it  is,  and  all 
I  want  is  to  be  let  alone. 

DICK.  Oh,  all  right.  I  thought  maybe  I  could  help 
you  out,  that's  all. 


68  STRONGHEART. 

BILLY,  (crossing  to  him)  Dick,  if  you  weren't  her 
brother,  I  could  tell  you  the  whole  mix-up. 

DICK.    Oh,  then,  it's  Molly? 

BILLY.  Yes,  how  did  you — I'm  an  ass!  (crosses 
to  L.  3) 

DICK,  (laughing)  What  are  you  talking  about, 
Billy? 

BILLY,  (going  off  L.  3)  I  don't  know,  I've  got  to 
find  Strongheart. 

(Enter  L.  3  MAUD,  holding  up  her  dress  the  ruffle  of 
which  is  torn,  followed  by  READE.  She  crosses 
down  to  c.  He  goes  to  R.  c.) 

READE.  It  was  very  clumsy  of  me,  you  know  my 
feet  always  get  in  the  way  when  I  dance. 

MAUD,  (with  suspicious  sweetness)  Oh,  it  doesn't 
matter. 

DICK,  (at  back  of  table)  Been  on  another  tear, 
Reade? 

(Two  step  stops.) 

(Enter  DOROTHY  and  FRANK  L.  3.    DOROTHY  crosses 
down  to  MAUD,  FRANK  up  L.  c.) 

READE.  I  wish  I  knew  how  you  kept  off  a  girl's 
train. 

MAUD,  (turning  to  DOROTHY)  Oh,  Dorothy,  a 
pin? 

DOROTHY,  (taking  her  toward  R.  3)  You  poor 
thing.  Come  with  me. 

READE.    I'm  awfully  sorry. 

FRANK.  It's  our  fault.  We  should  have  warned 
you  about  Reade. 

MAUD,  (stopping,  DOROTHY  passes  on  to  door)  It 
doesn't  matter  (very  bitingly)  a  bit.  (she  and 
DOROTHY  exit  R.  3) 

DICK.    Well,  Tommy,  that  makes  two  to-night. 

READE.     She  said  it  didn't  matter. 


STRONGHEART.  69 

FRANK,  (crossing  to  him  and  putting  hand  on 
shoulder)  Oh,  Tommy,  you've  got  a  lot  to  learn. 
You'd  better  sit  out  the  next  one. 

READE.  /  will,  (exit  L.  3,  looking  at  his  dance 
card) 

PRANK,  (crossing  to  R.)  Hasn't  Strongheart  come 
jet,  Dick? 

DICK.    No. 

FRANK.  We've  got  to  talk  over  that  signal  busi- 
ness to-night. 

DICK.  Yes,  and  there's  something  else  I  want  to 
talk  to  you  about. 

FRANK.    What  is  it  ? 

DICK,  (very  embarrassed)  It's — it's — you  see  I — 
have  a  cigarette,  (hands  one  from  table  and  lights 
it  for  FRANK)  It's  about — Dorothy.  Frank,  I  want 
to  ask  her  to  marry  me. 

FRANK,  (whistling)     Say,  that  is  important. 

DICK.  If  she  says  it's  all  right,  will  you  say  a 
good  word  for  me  to  your  mother? 

FRANK.  You  bet  I  will,  Dick,  and  I  hope  Dorothy 
says  yes. 

DICK,  (happily)  Thanks,  old  man,  I  thought  it 
was  only  square  to  speak  to  you  first, 

FRANK,  (shaking  DICK'S  hand.  READE  enters  L.  3, 
stands  at  door)  Why,  you  old  idiot,  you  know  I'd 
rather  it  was  you  than  any  one  else  in  the  world. 

READE.  Say,  Frank,  have  you  an  encyclopedia 
here? 

FRANK.  Yes,  you'll  find  all  the  books  up  there. 
(points  to  bookcase  up  L.) 

READE.  Thank  you.  I'm  going  to  explain  to  Miss 
Bates  the  nebula  hypothesis,  (goes  up  to  case  L.  of 
window) 

FRANK.  You're  perfectly  welcome,  help  yourself. 
(he  and  DICK  start  towards  L.  3.  STRONG  enters 

L.1) 

(Waltz  warn  "  Amoureuse  ") 


70  STROKGHEAET. 

DICK.    Hello,  Strongheart,  you're  late. 
FRANK.    We  were  afraid  you  weren't  coming. 
STRONG,  (crossing  to  R.)     I  was  detained  by  this 
signal  business. 

(  BILLY   enters  L.   3,  and  crosses  quickly   down   to 
STRONG  R.) 

BILLY.    Thank  the  lord  you're  here. 
DICK.     Billy's  been  having  a  fit  about  something 
and  won't  talk  to  anyone  but  you. 

(Enter  DOROTHY  and  MAUD  R.  3.    They  cross  to  L.  c.) 

(Waltz  starts.) 

FRANK,  (to  MAUD)  Have  you  been  able  to  repair 
the  damage,  Miss  Weston? 

MAUD.    Oh,  yes. 

EEADE.  (turning  away  from  bookcase  and  offering 
his  arm)  Shall  we  finish  it,  Miss  Weston? 

MAUD.    Which,  the  dance  or  the  gown  ? 

FRANK.    Don't  be  too  hard  on  him. 

(Exit  L.  c.    READE  and  MAUD  folloiu  talking.) 

DICK,  (crossing  up  to  DOROTHY)  May  I  have 
the  last  to-night,  Dorothy  ? 

DOROTHY.    Why  the  last? 

DICK.  Because  that's  the  one  a  fellow  always 
remembers. 

(They  stand  talking  and  move  down  stage  on  cue 
"Like  life,  isn't  it.") 

STRONG,     (to  BILLY)    What  have  you  found  out? 
BILLY.    Dick  put  that  list,  with  his  own  hand  in 
the  top  drawer  of  his  desk,  where  I  found  it! 
STRONG.     Were  you  alone  when  you  got  it? 


STRONGHEABT.  71 

BILLY.  Sure.  No — I'm  a  liar.  Thome  was  in 
the  room. 

STRONG.     He  had  been  alone  in  the  room? 

BILLY.    He  was  alone  when  I  got  there. 

STRONG.  Good,  find  out  from  Dick,  whether  the 
list  he  gave  you  is  the  only  one  he  wrote. 

BILLY.  All  right,  (takes  a  step  L.  and  then  back 
to  STRONG)  Say,  this  affair  is  just  like  life,  isn't  it? 

STRONG.    How,  Billy? 

BILLY,  (seriously)  It  would  be  bully  fun  if  it 
wasn't  so  damned  serious. 

DOROTHY,  (quickly)  Are  you  speaking  of  the 
dance,  Mr.  Saunders? 

BILLY.  (very  embarrassed,  backing  up  around 
table  to  L.)  Oh,  no,  only  life,  that's  all.  (crosses 
down  to  DICK) 

WARN  LIGHTS. 

DOROTHY,  (cross-ing  to  STRONG)  I'm  glad  you've 
come. 

BILLY.    Dick,  are  you  engaged  for  this  dance? 

DICK.    No,  Billy. 

BILLY.  Then  I  wish  you'd  give  it  to  me.  I  want 
to  ask  you  a  few  questions. 

DICK,  (going  up  to  L.  3)  Oh,  I  see,  the  brother 
instead  of  the  sister,  (they  exit  L.  3.) 

STRONG.    Am  I  too  late  to  ask  for  a  dance  ? 

DOROTHY.    I  didn't  know  you  danced. 

STRONG.  Your  government  will  not  let  me.  But 
I  hoped  you  would  sit  one  out  with  me. 

DOROTHY,  (looking  at  card)  Certainly,  shall  we 
say  this  one?  * 

STRONG.  It  cannot  come  too  soon  for  me.  Sit 
here,  (indicating  chair  in  front  of  fire.  DOROTHY 
crosses  and  sits)  So  that  the  firelight  may  fall  upon 
your  face  as  it  did  so  long  ago. 

DOROTHY.    That  night  of  our  first  camp. 

STRONG.    Yes. 


f2  STRONGHEART. 

DOKOTHY.  How  frightened  I  was  at  the  cry  of 
the  mountain  lion. 

STRONG.  It  did  not  show  in  your  face,  and  your 
hand  was  as  steady  as  my  own.  (crossing  above  her) 
There,  now  you  look  as  you  did  then.  The  night 
that  began  my  life.  Ah,  what  a  beautiful  night  it 
was.  We  had  no  walls  then  to  keep  the  moonlight 
out,  and  no  lamps  to  drown  the  firelight. 

DOROTHY.    We  do  not  have  such  nights  here. 

STRONG.  You  have  them,  but  you  do  not  use  them. 
See?  (crosses  to  button  above  fire-place  and  touches 

LIGHTS  OFF. 

it.  All  the  lights  but  table  lamp  and  Reds  in  foots  go 
out.  Calcium  and  border  on  back  drop  also  stay  on) 
Is  not  this  better? 

DOROTHY.  Yes.  (leaning  toward  fire)  Now,  I 
can  see  again  the  figures  we  traced  that  night  in  the 
fire. 

STRONG.  Do  you  remember  what  they  were  pic- 
tures of? 

DOROTHY,  (nods  her  head)  You  were  telling  me 
the  love  stories  of  your  people,  and  showing  me  each 
scene  in  the  embers.  And  I  was  telling  you  how  dif- 
ferent it  is  with  us  in  the  east. 

STRONG.  But  we  decided,  that  after  all,  love  is 
love,  whether  it  be  in  the  East  or  in  the  West. 
(kneels  in  front  of  fire) 

DOROTHY.  But  since  then  surely  you  have  shown 
the  pictures  in  the  fire  to  someone  else. 

STRONG.  I  have  shown  them  to  you.  I  do  not 
wish  to  show  them  to  another. 

DOROTHY.  Somehow,  whenever  I  am  tired  of  the 
noise  and  rush  of  all  this,  I  think  of  those  great, 
silent  mountains,  smiling  up  at  the  sun,  or  showing 
to  the  dark,  gray  clouds  a  face  as  stern  and  grim  as 
their  own,  but  always  peaceful. 

STRONG.  You  do  not  belong  shut  between  four 
walls.  You  have  the  spirit  of  the  forest.  The  voice 


STKONGHEART.  73 

of  the  stream  tells  the  same  story  to  you  as  to  me. 
You  understand  the  message  the  wind  bears  when 
it  comes  fresh  and  cool  from  the  snows  above. 

DOROTHY.  Then  I  want  to  forget  the  nothings 
that  form  our  life  here  and  go  out  there — alone. 

STRONG.  Not  alone.  There  is  always  one  in  whose 
company  the  sunshine  is  brighter,  the  wind  softer 
and  the  peace  greater?  Miss  Nelson,  (rises)  when  I 
told  you  what  you  had  been  to  me,  I  kept  back  the 
greatest  thing  of  all.  You  know  my  plans  and  hopes, 
but  the  greatest  hope  I  have  never  told  you,  the 
hope  of  my  love. 

DOROTHY.    Your  love? 

STRONG.  And  now  I  tell  you  of  it,  because 
it  is  you  I  love.  I  have  waited  for  two  years  to  tell 
you.  From  the  moment  you  came  into  my  life,  I 
knew  that  your  love  was  the  only  thing  in  the  world 
worth  having.  I  am  ambitious,  I  wish  to  raise  my 
people,  but  even  that  seems  small,  compared  with 
the  giant  love  you  have  awakened. 

DOROTHY.    You  love  me? 

STRONG.  The  thought  of  you  has  guided  me  and 
has  been  my  strength.  And  now  I  speak  your 
tongue,  I  think  your  thoughts,  and  I  love  you  with  a 
love  as  great  as  my  mountains  and  as  pure  as  the  air 
about  them.  Give  me  the  right  to  tell  you  more  of 
that  love. 

DOROTHY.    You  love  me? 

STRONG.  If  I  am  not  what  you  would  have  me, 
let  me  go  on  working.  Only  tell  me  that  it  is  for 
you. 

DOROTHY.  Strongheart,  I —  (rises  and  crosses  to 
c.)  I  cannot  answer  you  now,  I  don't  know,  I  don't 
know. 

STRONG,  (crossing  to  her)  I  will  wait.  You  must 
be  sure,  for  on  your  answer  hangs  the  happiness  of 
my  life,  and,  I  hope,  of  yours. 

DOROTHY,  (turning  to  him)  Come  for  your  an- 
swer to-morrow. 


74  STRONGHEART. 

STRONG.  I  will  leave  you  now  to  your  thoughts. 
(crosses  to  L.  3)  But  I  will  come  for  my  answer  to- 
morrow. 

WARN  LIGHTS. 

(Exits  L.  3.     MOLLY  enters  L.  3,  and  crosses  down 
to  c.) 

MOLLY.  My,  how  dark  it  is.  (sees  DOROTHY  and 
runs  to  her)  Oh,  Dorothy,  it's  you ! 

(They  embrace  and  DOROTHY  lays  her  hand  on 
MOLLY'S  lips  and  exits  R.  3.  MOLLY  stands 
looking  into  fire.  BILLY  appears  in  door  L.  3, 
and  looks  into  room,  uncertain  whether  MOLLY 
is  there.) 

WALTZ  STOPS. 
BILLY.    Miss  Livingston  ? 
MOLLY,  (turning  on  lights)     Yes,  Mr.  Saunders. 

LIGHTS  ON. 

BILLY,    (crossing  down  L.  c.)    I  think  this  is  ours. 

MOLLY.  (crossing  towards  L.)  Yes,  Mr. 
Saunders. 

BILLY.  Do  you  mind  if  we  sit  it  out?  I  want  to 
tell  you  what's  doing,. 

MOLLY.  Yes.  (sighs.  Crosses  to  chair  L.  of  table 
and  sits)  And  what  is  doing? 

BILLY.  You  know  I  told  you  that  if  you  lost  those 
signals,  it  would  be  down  and  out  for  mine? 

MOLLY,  (putting  her  hand  to  bodice  where  sig- 
nals are)  If  I  lost  the  signals? 

BILLY.  Yes,  I  say  "  lost "  because  it's  the  kindest 
word  to  use. 

MOLLY,  (rising)  Mr.  Saunders,  I  don't  under- 
stand a  word  you're  saying,  but  I  gather  from  your 
tone  that  you  mean  it  to  be  rude. 

BILLY.  No,  I'm  trying  to  put  it  gently,  that  is 
all. 

MOLLY.    Put  what  gently? 


STRONGHEART.  75 

BILLY.  You  might  have  known  you'd  have  been 
found  out. 

MOLLY,  (crossing  to  chair  in  front  of  fire,  sits) 
When  you  get  through  with  this  interesting  conversa- 
tion, perhaps  you'll  tell  me  what  you're  talking  about. 

BILLY.  Well,  it's  just  this.  You  sent  those  sig- 
nals I  gave  you  to  Farley. 

MOLLY,     (rising,  amazed,  facing  him)     What? 

BILLY.  There's  only  one  thing  can  make  a  woman 
act  that  way,  and  that's — you  know,  (crosses  to  c.) 
Why  didn't  you  do  the  square  thing  by  me  and  tell 
me  he  was  it? 

MOLLY,  (going -up  towards  R.  3)  I  have  nothing 
to  say  to  you,  Mr".  Saunders. 

BILLY.  Then  you  might  as  well  know  the  rest. 
( MOLLY  stops  and  turns  to  him)  One  of  the  team 
is  going  to  be  disgraced  to-morrow  on  your  account. 

MOLLY,  (crossing  down)  Why  should  he,  if  I 
am  the  criminal. 

BILLY.  Because  a  man  would  rather  be  knocked 
out  himself  than  give  away  a  woman. 

WARN  TWO  STEP. 

MOLLY,  (coming  to  him — starting  to  cry)  Why 
did  you  give  them  to  me  if  you  couldn't  trust  me? 

BILLY,  (backing  away)  I  did  trust  you.  Oh,  I 
was  easy  fruit.  I'm  not  excusing  myself  but  you 
have  queered  an  innocent  man's  life,  and  you've 
knocked  out  my  faith  in  womanhood  all  right.  Good- 
bye, (up  to  L.  3) 

TWO  STEP  STARTS. 

MOLLY,  (taking  a  step  after  him)  What  are  you 
going  to  do? 

BILLY,  (turning  to  her)  There's  nothing  to  be 
done.  Strongheart  has  made  me  promise  to  keep  my 
face  shut.  Oh,  it's  only  another  poor  fool  added  to 


76  STRONGHEART. 

the  list  of  men  who  have  trusted  women,      (exits 
L.  3) 

MOLLY,  (taking  a  step  toward  L.  3,  hands  out) 
Mr.  Saunders ! ! 

(Starts  to  cry  and  goes  and  sits  in  chair  L.  of  table 
sobbing.    Enter  STEONG,  L.  3.    He  goes  to  her.) 

STRONG.  Why,  little  one,  you  are  in  trouble. 
( MOLLY  nods  her  head  violently)  Come,  tell  me  all 
about  it. 

MOLLY,  (sobbing)  Why,  B-B-Billy  gave  me  his 
list  of  signals  and  now  he's  going  to  be  disgraced 
for  it. 

STRONG.    Did  he  tell  you  this? 

MOLLY.  No,  he's  too  noble,  but  it  couldn't  be  any- 
one else,  (rises)  Oh,  Soangataha,  can't  you  do  some 
thing  to  save  him.  He  said  I'd  queered  his  faith  in 
womanhood. 

STRONG.  Tell  me,  little  one,  how  did  you  come 
to  lose  the  list? 

MOLLY,  (putting  hand  to  bodice)  Why,  I  didn't 
lose  it. 

STRONG.  .  Then  how  did  it  get  out  of  your  hands? 

MOLLY.  Why,  it  hasn't  left  me  for  a  single  in- 
stant since  he  gave  it  to  me.  I  had  a  pocket  made  for 
it  in  my  dress,  (crosses  left,  takes  letter  from  her 
bodice  and  hands  it  to  STRONG  without  turning  to 
him)  Here  it  is. 

STRONG,  (taking  it  eagerly)  It  is  not  Dick's 
writing.  Little  one,  you  need  not  fear,  I  think  that 
with  this,  I  can  promise  you  no  disgrace  will  come 
to  Billy  or  any  innocent  man.  (  MOLLY  takes  a  step 
towards  him  looking  happier)  But,  I  must  see  Billy 
at  once.  Will  you  send  him  to  me,  little  one  ? 

MOLLY.  I'd  rather  not,  if  you  don't  mind.  You 
see  he  suspected  me  of  treachery  and  I'll  never/speak 
to  him  again,  (coldly) 

STRONG.    Oh,  then,  would  you  mindJsending  Dick 


STRONGHEART.  77 

in?  (crosses  to  fire  and  throws  envelope  in.  Then 
crosses  back  to  c.) 

MOLLY.  Oh,  no.  (starts  to  exit  then  turns  and 
comes  down  to  STRONG)  Oh,  Soangataha,  you're  sure 
nothing  will  happen  to  him  ? 

TWO  STEP  STOPS. 

STRONG.    To  Dick? 

MOLLY.    No,  to  Billy. 

STRONG.    Well,  except  your  disfavor,  I'm  sure. 

MOLLY,  (shaking  his  hands)  Oh,  you're  a  per- 
fect dear ! 

(  MOLLY  starts  up  stage  as  BILLY  enters.  As  soon  as 
she  sees  him  slie  draws  herself  up  and  goes  out  very 
stiffly  without  looking  at  him,  he  stands  and  watches 
her,  crossing  to  table  as  she  goes  off.  Then  he  turns 
to  STRONG  with  a  "  See  what  I'm  up  against  "  expres- 
sion. STRONG  is  amused.) 

STRONG.    Well,  what  did  Dick  say  ? 

BILLY,  (crossing  down  to  him  c.)  He  only  wrote 
one  list  and  that  was  the  one  I  got. 

STRONG.    Good.    That  simplifies  matters. 

BILLY.  Yes,  and  it  knocks  out  my  last  hope.  I 
guess  things  will  be  up  to  me,  all  right. 

STRONG.  Look  here,  Billy,  (shows  him  signals 
from  MOLLY)  Do  you  know  where  I  got  this  list? 

BILLY,  (looking  at  it  puzzled)  No.  Ifs  not  the 
one  in  Dick's  writing  we  got  from  Farley. 

STRONG.     No.     It's  the  one  you  gave  Molly. 

BILLY,  (very  much  surprised)     Judas  Iscariot! 

STRONG.  I  just  got  it  this  moment  from  her.  I 
think  if  I  were  in  your  place  I  would  make  my  peace 
with  that  young  lady. 

BILLY,  (disgusted  with  himself)  Strongheart, 
they  say  "  There's  a  fool  born  every  minute,"  but  I 
guess  I  used  up  about  five  minutes'  worth,  (crosses 
up  to  L.  3) 

STEONG.     Wait  a  moment.     We  have  work  to  do 


78  STRONGHEART. 

first.  Now,  listen  carefully,  Billy.  (  BILLY  crosses 
down  to  him)  I  want  you  to  wait  until  Thome  is  in 
the  room,  and  then  send  a  telegram  to  someone  in  the 
West  End  Hotel. 

BILLY.  Well,  fire  away.  I  send  a  message  to  the 
West  End  Hotel? 

STRONG.  Yes,  you  cannot  write  it  yourself  on 
account  of  your  arm.  So  Thorne  must  write  it  for 
you. 

BILLY.    I  tumble,  what's  the  message  ? 

STRONG.  Say,  "  Left  right  after  game.  Awful 
rush.  Back  at  half -past  ten.  Billy." 

BILLY.  All  right,  but  it's  too  deep  for  yours* 
cordially. 

Ross,  (off  L.  3)  Come  on,  Thorne,  let's  have  a 
smoke. 

THORNE.  (off  L.  3)  All  right,  old  man,  I'll  be 
right  with  you. 

STRONG,  (looking  towards  L.  3)  Now,  you  stay 
here  and  smoke. 

BILLY,  (with  mock  humility)  All  right,  master. 
(gets  a  cigarette  and  lights  it.  STRONG  crosses  to  fire) 

Ross,  (off)  It  was  third  down  and  everything  de- 
pended on  it.  (enters  L.  3,  followed  by  THORNE  who 
crosses  to  R.  end  of  table  i'~>  cigar  case.  Takes  out 
cigar)  I  was  right  behir.d  at  the  time,  and  the  way 
he  put  those  two  ends  out  of  business,  was  worth 
going  twenty  miles  to  see. 

(Crosses   down   to   stand   below   L.    1,   and   gets   a 
cigarette,  and  lights  it.) 

BILLY.    Hello,  kid,  how's  the  bum  lamp  ? 

Ross,  (hand  to  eye)  All  right,  thanks,  (sits  in 
chair  between  L.  1  and  L.  3) 

THORNE.  (at  upper  end  of  table)  Well,  Billy, 
how  is  Lady  Nicotine  after  a  ten  weeks'  absence? 

BILLY.     Right  up  to  the  limit,     (giving  a  start 


STRONGHEART.  79 

of  surprise)  By  Jove,  I  wanted  to  send  a  telegram 
and  it's  almost  too  late.  Got  a  pencil,  Thorne? 

THORNE.  (taking  it  out  of  his  pocket)     Yes. 

BILLY,  (sitting  L.  of  table)  I  can't  use  this  wing 
Just  write  it  for  me,  will  you?  There's  a  blank. 
(THORNE  takes  blank  from  holder  and  prepares  to 
write)  W.  G.  Abbott,  West  End  Hotel,  New  York. 
Left — right — after  game.  Awful  rush.  Back — at 
half-past  ten.  Billy."  Thanks  old  man. 

(THORNE  rises  and  crosses  to  fireplace,  lighting  his 
cigar  with  match  from  mantel.  STRONG  moves 
up  stage  as  telegram  is  finished  and  on  THORNE'S 
cross  goes  down  to  BILLY.) 

STRONG.  I  will  send  it  for  you  Billy,  (in  a  low 
voice)  Get  Ross  away. 

BILL,  (rising  quickly)  Holy  Mackerel,  that's  so! 
(crosses  to  Ross,  STRONG  down  c.)  Say  Ross,  you 
mustn't  be  in  here  with  that  eye.  (pulls  him  up  out 
of  chair) 

Ross.    Why  not? 

BILLY.  I  knew  a  chap  once  had  an  eye  just  like 
that,  and  one  day  he  got  tobacco  smoke  in  it  and  he 
never  got  the  use  of  it  again. 

Ross.    But  I  thought 

(READE  enters  slowly  L.  3.  Crosses  to  table  and  very 
deliberately  spears  two  marshmallows  on  hat- 
pin.) 

BILLY,  (taking  Ross  up  to  L.  3)  I  don't  believe 
it's  hurt  it  yet,  the  patch  protected  it.  Come  out 
here  and  let  me  have  a  look  at  it.  (pushes  him  out 
L.  3,  then  sees  READE.  Crossing  to  him,  grabs  him  by 
the  shoulder  and  pulls  him  out  L.  3.  READE  trying  to 
eat  marshmallows) 

BILLY,     (as  he  takes  READE  off)     You  come  out 


80  STRONGHEABT. 

here.    I  want  to  ask  you  a  question  about  the  battle 
of  Waterloo. 

(Warn  Waltz.) 

EBADE.     Waterloo  ? 

BILLY.    Yes,  you  remember  I  asked  you  a 

(THORNE,  seeing  he  is  alone  with  STRONG,  starts  for 
table  to  lay  down  his  cigar  and  exit.) 

STRONG.  (L.  c.)  Thome.  (TIIORNE  stops) 
Finish  your  cigar,  I  want  to  have  a  talk  with  you. 
Look  here,  (shows  THORNE  list  of  signals.  They 
stand  R.  c.)  Is  not  this  list  of  signals  in  your  writ- 
ing? 

THORNE.  (looks  at  list — starts  slightly  and  then 
speaks  very  calmly)  No. 

STRONG.  Do  not  lie  to  me,  Thome,  it  will  not  help 
you  now. 

(Waltz  starts.) 

THORNE.  (indifferently)  Oh,  you  seem  to  think  it 
is  in  my  writing,  (crosses  to  R.  c.)  Well,  it's  really 
of  very  little  importance  to  me  what  you  think. 

STRONG.  It  may  become  of  more  importance  when 
I  give  these  two  papers  to  the  meeting  to-morrow  ? 

THORNE.  (sharply,  turning)     What  two  papers? 

STRONG.  This  list  of  signals  and  this  telegram 
which  three  people  saw  you  write,  and  which  contains 
the  words  end,  left,  right,  rush,  back  and  half.  The 
words  are  identical  with  those  in  the  list,  and  prove 
the  two  papers  to  have  been  written  by  the  same 
hand.  Thome  you  sent  Dick's  list  to  Farley,  and  I 
can  prove  it.  (THORNE  turns,  throivs  his  cigar  in 
fire  and  makes  a  start  for  STRONG.  STRONG  stops 
him  with  his  voice)  So,  I  tell  you  now,  that  to- 
morrow afternoon  I  shall  show  the  team  that  you  are 
a  blackguard. 

THORNE.  (crossing  to  him)  Look  here,  you're 
interfering  too  much  in  my  affairs.  If  you  give  me 


STKONGHEAKT.  81 

away,  I'll  show  Frank  and  Dick  how  you  have  be- 
trayed their  confidence. 

STRONG.    In  what  way? 

THORNE.    By  making  love  to  Frank's  sister. 

STRONG.  We  will  not  use  a  lady's  name  in  this 
discussion. 

THORNE.  Well,  whether  we  use  her  name  or  not, 
you  know  I'm  right.  I've  watched  you. 

STRONG.    Well  ? 

THORNE.  If  you  clear  Dick's  name  to-morrow,  you 
help  your  rival. 

STRONG,  (surprised)     Dick,  my  rival? 

THORNE.  Come,  you  can't  make  me  believe  you 
didn't  know  that. 

STRONG.  If  Dick  is  the  man  she  loves,  she  will 
choose  him. 

THORNE.  But,  if  you  are  the  man  she  loves,  they 
will  prevent  you  marrying  her. 

STRONG.    Why? 

THORNE.  Because  you  are  an  Indian !  (STRONG 
moves  a  step  to  the  L.,  thinking  this  remark  absurd) 
If  those  boys  knew  you'd  made  love  to  her,  they'd  kick 
you  out  of  this  house. 

STRONG,  (facing  THORNE)     You  lie ! 

THORNE.  You  think  they  are  your  friends? 
(points  to  window)  Stand  behind  that  curtain  and 
see  what  they  will  do  when  I  tell  them. 

STRONG,  (going  to  him)  Thome,  you  are  a 
coward. 

THORNE.  It  is  you  who  are  afraid,  because  you 
know  in  your  heart  that  what  I  say  is  true. 

STRONG.    We  shall  see. 

( Goes  up  to  L.  3  and  calls  "  FRANK — DICK."  After 
STRONG  gets  to  L.  3,  THORNE  crosses  to  R.  in 
front  of  fireplace.  After  STRONG  calls  men,  he 
goes-  down  to  table  c.  and  stands  looking  at 
THORNE.  When  he  stops  there,  FRANK  and  DICK 
enter  laughing.) 


82  STRONGHEART. 

FRANK,  (crossing  down  L.  c.  DICK  goes  to  L.  As 
soon  as  they  see  something's  up  they  become  serious) 
You  called  us.  Strongheart  ? 

STRONG.  Yes.  I  have  been  told  that  I  betray  your 
confidence  by  loving  your  sister.  (Both  men  give  a 
start)  I  have  loved  her  for  two  years.  For  her  I 
have  adopted  the  manners  and  customs  of  your  people, 
and  if  she  accepts  my  love,  I  ask  your  consent. 

DICK.    How  could  you  think  that 

FRANK,  (stopping  him)  Wait,  Dick,  this  is  my 
affair. 

DICK,  (pushing  past  him  to  c.)  I  have  the  right 
to  make  it  mine. 

STRONG.     You  have  the  right? 

FRANK.    Yes.     I  have  given  my  word  to  Dick. 

STRONG.    But,  she,  has  she  accepted  him? 

FRANK.  No.  But  whether  she  cares- for  Dick  or 
not,  you  cannot  speak  of  love  to  her. 

STRONG.    I  have  spoken. 

FRANK.    What! 

DICK.    You  have  dared  to  make  love  to  her? 

STRONG.    Why  should  I  not? 

DICK.    Because  3rou  are  an  Indian. 

THORNE.  You  see?  (goes  up  above  chair  at  fire 
and  remains  immovable  till  the  end  of  the  act) 

FRANK.  Strongheart,  you  are  one  of  the  finest 
men  I  know,  but  you  are  not  one  of  us. 

STRONG.  Neither  is  a  European,  yet  you  would 
give  your  sister  to  one  of  them. 

FRANK.    It  is  not  the  same  thing. 

STRONG.  No,  I  have  a  greater  claim.  I  am  the 
American.  I  speak  your  tongue,  I  obey  your  law, 
I  have  lived  with  you,  slept  with  you,  eaten  from  the 
same  dish,  and  yet  I  am  not  one  of  you. 

DICK.  You  are  not  one  of  us  in  race  !  We  trusted 
you  with  our  women,  but  when  you  spoke  your  love 
you  betrayed  that  trust.  You 

FRANK.    Wait,  Dick.    Not  so  fast. 


STRONGHEART.  83 

STRONG.  No,  let  him  speak.  It  is  time  we  under- 
stood one  another.  You  called  me  friend,  there  was 
no  question  of  race.  I  have  the  same  education  as 
you,  the  same  customs,  the  same  feelings. 

DICK.     Still,  you  are  an  Indian  ! 

STRONG.  You  do  well  to  remind  me  of  that.  You 
have  taken  from  me  the  land  of  my  fathers,  and  yet 
when  I  live  by  your  laws  will  not  call  me  brother.  I 
am  Soangataha,  the  son  of  a  chief.  In  what  way  am 
I  not  your  equal? 

FRANK.     I  tell  you  to  keep  away  from  my  sister. 

STRONG.  No.  I  will  try  to  win  her  without  your 
consent. 

DICK.  Now,  you  show  the  treachery  of  your  race. 
You  make  love  to  our  women — and  it  was  you  who 
betrayed  the  team. 

(FRANK  crosses  up  to  L.  3,  and  looks  off.) 

STRONG.    What  ?  you  dare  say  that  ? 

DICK.  Yes,  I  dare.  If  you  can  be  unfaithful  in 
the  one  case  you  can  in  the  other. 

STRONG.    Do  you  mean  that? 

DICK.    Show  me  those  signals. 

STRONG.  You  force  me  to  fight.  Good.  ( takes  out 
signals)  There  are  the  signals  we  got  from  Farley. 

(DiCK  takes  them  and  crosses  to  L.  c.    FRANK  comes 
down  from  door  and  looks  at  list  with  him.) 

DICK,  (astonished)  My  God,  Frank,  the  writ- 
ing's mine. 

STRONG.  It  is  not  my  honor,  but  yours,  that  is  in 
danger.  Now  vindicate  it  yourself. 

DICK,  (turning  to  him)  Then  you  sent  this  to 
Farley  ? 

STRONG.    You  will  have  to  prove  that  to-morrow. 

FRANK,     (crossing  to  c.)     Now,  you're  showing 


84  STRONGHEART. 

what  you  are.  I  was  a  fool  to  bring  you  into  my 
house. 

STRONG.  You  have  reminded  me  to-night  that  I 
am  an  Indian.  Good.  An  Indian  knows  how  to  re- 
venge himself. 

DICK,  (crossing  down  -L.)  Yes,  on  those  who 
took  him  into  their  homes ! 

STRONG.  I  was  an  Indian  when  you  took  me!  I 
will  not  sacrifice  my  life  to  your  prejudice,  I  will  take 
my  answer  from  her. 

(Starts  up  stage  on  R.  of  table.  FRANK  goes  up  on  L. 
side  of  table  and  bars  his  way  to  L.  3.  DICK  up  a 
few  steps.) 

FRANK.  Strongheart,  this  is  my  house.  I  forbid 
you  seeing  my  sister ! 

STRONG.  You  have  not  the  right.  It  is  for  her 
±o  decide.  If  she  will  accept  my  love,  it  is  not  for 
you  to  forbid  it. 

DICK,  (crossing  down)  Have  you  no  sense  of 
honor  ? 

STRONG,  (coming  down)  It  is  you  who  are  false 
to  me,  as  your  race  lias  been  false  to  mine.  You  have 
robbed  us  of  all  we  had,  but  you  shall  not  take  from 
me  the  right  to  love ! 

WARN  CURTAIN. 

DICK.    You  shall  not  speak  of  love  to  her ! 
STRONG.    Do  you  think  you  can  stop  me?    No.    I 
will  speak  now ! 

(Starts  for  door  L.  3.    Enter  DOROTHY  L.  3.) 
FRANK.    If  you  dare  say  another  word  to  my  sis- 

DOROTHY.  (coming  down  a  step)  Why,  boys, 
what  is  the  matter? 


STEONGHEAET.  85 

STRONG.  Miss  Nelson,  when  I  told  you  of  my  love 
you  asked  me  to  wait,  but  you  did  let  me  hope. 

FRANK.    Strongheart,  leave  my  house ! 

DOROTHY.  For  shame,  Frank,  (down  another 
step) 

STRONG.    Miss  Nelson,  what  is  your  answer? 

DICK.     Dorothy,  you  don't  understand  ! 

STRONG.  She  does  understand  your  injustice.  She 
knows  it  was  you  who  called  me  from  among  my 
mountains  to  be  one  of  you.  I  was  happy  there. 
You  showed  me  the  great  life  beyond,  and  now  you 
bid  me  keep  back.  You  tell  me  that  I  may  not  share 
it,  but  must  stand  outside,  because  I  am  an  Indian. 
No.  I  will  not  do  it ! 

(DOROTHY  starts  to  cross  to  him  but  FRANK  stops  her 
by  taking  her  arm.) 

FRANK.     Strongheart ! 

DICK.    Dorothy! 

STRONG.    I  will  come  for  my  answer,  to-morrow. 

QUICK  CUETAIN. 


ACT  IV. 

SCENE: — Same  as  ACT  III.  Four  o'clock  on  the 
following  afternoon.  The  furniture  is  arranged 
for  the  meeting  of  the  team.  A  chair  below  L.  1 
E.  Three  chairs  between  L.  1  and  L.  3.  Settee 
above  door  L.  3.  Four  chairs  up  stage  in  front 
of  window  and  bookcase  L.  Chairs  R.  and  L.  of 
table,  and  one  in  front  of  fireplac'e.  The  stand 
that  ivas  below  L.  1  is  now  in  front  of  bookcase  R. 
Everything  off  table  c.  but  bookrack  and  cigar 
case.  Foots  and  first  border,  white  and  amber, 
full  up.  ^Calcium  on  back  drop,  amber  to  change 


86  STRONGHEABT. 

to  red  on  cue  from  Stage  Manager.  Firelog  and 
calcium  in  fireplace  out.  Reds  go  on  in  foots  at 
cue  from  Stage  Manager.  Foots  and  first  border 
are  lowered,  whites  one-fourth,  amber  three- 
fourths,  at  cue  from  Stage  Manager. 

DISCOVERED: — FRANK,  silting  R.  of  table,  read- 
ing. As  curtain  rises,  BILLY'S  voice  is  heard 
off  L.  1  E. 

BILLY.  I  don't  care  to  see  the  ladies,  I'll  wait  in 
here. 

(Enter  the  Butler  with  a  newspaper  ivhich  he  takes 
to  FRANK  and  then  exits  L.  3.  BILLY  follows 
him  on  and  goes  up  back  of  table.) 

FRANK.    Hello,  Billy. 

BILLY.    Morning. 

FRANK.    Survived  the  mad  revels  of  last  night  ? 

BILLY.  No.  Took  cold  and  spent  the  night  bark- 
ing my  fool  head  off. 

FRANK,  (spreading  paper  out  on  table)  Have  you 
seen  your's  and  Dick's  pictures  in  the  paper? 

BILLY,  (sitting  on  back  of  table  and  leaning  over) 
No.  (looks  at  pictures)  Judas  Iscariot !  Do  I  look 
like  that? 

FRANK.    Not  enough  to  hurt  you. 

BILLY.    I  suppose  this  is  meant  to  he  Dick  ? 

FRANK.    Yes.    By  the  way  where  is  Dick  ? 

BILLY.  Up  at  college.  Said  he'd  be  down  early. 
Say,  how  do  things  look  for  him  ? 

FRANK.    Pretty  bad,  Billy. 

BILLY.  The  more  I  try  to  figure  it  out,  the  more 
I  get  lost  in  the  swamp.  I  guess  Strongheart's  the 
only  man  that  can  straighten  out  the  muss,  and  he 
seems  pretty  well  blued  up  over  it. 

FRANK.    Have  you  seen  him  to-day  ? 


STRONGHEAKT.  87 

BILLY.  Sure.  I  bunked  out  in  his  rooms  last 
night.  You  see,  I  left  my  key  in  my  other  pants, 
and  when  I  got  home  about  two  o'clock  every  yap 
in  the  place  was  dead  to  the  world. 

FRANK.    Why  didn't  you  whistle  ? 

BILLY.  Whistle?  Holy  Cat,  I  whistled  so  loud 
I  woke  a  cop!  But  nothing  doing.  Then  I  trotted 
around  to  Strongheart's  rooms  and  made  him  put 
me  up  for  the  night.  Say,  he  seemed  off  his  feed. 
Do  you  know  what's  the  matter? 

FRANK.    Is  he  coming  here  this  afternoon  ? 

BILLY.    I  suppose  so. 

FRANK.    Did  he  tell  you  anything? 

BILLY.  Not  a  blooming  syllable  could  I  pump  out 
of  him,  except  that  he  had  shown  you  the  list.'  I'd 
never  seen  him  so  quiet.  I  guess  he's  worried  about 
Dick. 

FRANK,     (very  seriously)     Perhaps. 

BILLY,  (rising  from  table,  slapping  him  on  back, 
and  crossing  to  FRANK'S  R. )  Here  !  Here !  What's 
the  matter  with  you?  Brace  up  and  pretend  you're 
alive.  Dick'll  come  out  all  right,  so  look  happy  when 
the  team  comes,  (looks  toward  L.  1)  Here  comes 
somebody  now. 

FRANK,    (rising  and  crossing  to  L.  c.)    If  s  Molly. 

BILLY,     (retreating  up  stage)     Holy  Cat! 

MOLLY,  (entering  L.  1)  Hello  Frank,  (seeing 
BILLY  and  finishing  very  coldly)  Where's  Dorothy? 

FRANK.     In  the  morning  room. 

MOLLY,     (starting  for  R.  3)     I'll  go  to  her. 

FRANK.  Wait  a  minute,  Molly.  Here's  Mr. 
Saunders. 

(BILLY  down  a  step.) 

MOLLY,  (stopping  c.  and  speaking  very  coldly) 
Oh,  good  afternoon.  I  didn't  see  you. 

( BILLY  back  up  stage,  crushed.) 


88  STRONGHEART. 

FRANK.  I've  got  to  look  up  some  of  the  boys. 
Entertain  each  other,  you  two,  till  I  get  back,  (exits 
quickly  L.  1.  MOLLY  runs  after  him,  but  lefore  she 
reaches  the  door  he  closes  it  after  himself.  BILLY 
a/so  takes  several  steps  toward  L.) 

MOLLY.  (running)  Oh,  Frank!!  (stands  by 
door  very  haughtily) 

BILLY,  (crossing  to  her  very  embarrassed)  That's 
a  pretty  dress  you've  got  on.  (twists  cap  in  his 
hands) 

MOLLY,  (in  society  manner)  Yes?  And  is  that 
a  new  cap  you've  got  there  ? 

BILLY.  (looking  at  it  in  wonder)  No — yes! 
(there  is  a  slight  pause  and  then  they  both  start  to 
speak  at  once.  He  says,  "  Miss "  and  she,  "  Mr." 
Then  they  loth  subside.  Then  BILLY  speaks,  very 
firmly)  Miss  Molly,  I'm  a  mut!  (MOLLY  looks  in- 
terested) I  don't  suppose  after  last  night  you  care 
to  say  anything  to  such  a  star  chump,  but  I  want  to 
tell  you  that  I  know,  now,  just  how  big  an  ass  I  am. 
And  I  ask  your  pardon  for  what  I  said  yesterday. 

MOLLY,  (rising  and  crossing  to  c.)  It  isn't  an 
easy  thing  to  forgive,  being  called  a  traitor  to  your 
team. 

BILLY,  (following  her  up)  I  know  that,  Miss 
Molly.  Why,  if  any  other  man  had  said  to  you  what 
I  said  last  night,  I'd  have  done  a  two  step  on  his 
solar  plexus.  This  morning  I  asked  Buckley  to  kick 
me,  but  I  couldn't  tell  him  why,  so  he  wouldn't. 

MOLLY,  (not  turning  to  him)  But,  why  did  you 
jump  at  once  to  the  conclusion  that  I  had  sent  those 
signals  ? 

BILLY.  Maybe  it  was  because  I  haven't  been  Ihink- 
ing  of  anyone  except  you  for  months.  Why,  things 
got  so  bad  that  I  used  to  have  nightmares  and  dream 
about  you.  ( MOLLY  moves  a  step  to  the  R.,  laughing 
quietly)  Don't  laugh,  I  really  mean  it.  And  unless 
you  forgive  me  now,  I'll  do  so'methincr  desperate. 

MOLLY,      (slowly)      Well,   if  you're   really  very 


STRONGHEART.  89 

sorry,  I  suppose  I'll  have  to  forgive  you  this  time. 

BILLY.    You  will?     (extends  his  hand) 

MOLLY.  Yes !  ( turns  to  him  quickly  and  takes 
his  hand  and  gives  it  a  strong  shake  causing  him  to 
make  a  grimace  of  pain)  Oh,  I  forgot  your  arm. 
I'm  afraid  I  hurt  you. 

BILLY,     (hopefully)     Would  you  care  if  you  did? 

MOLLY,     (softly)     I'm  afraid  I  would. 

BILLY,     (putting  his  arm  around  her)     Molly! 

MOLLY,  (putting  her  arms  around  his  neck) 
Billy! 

(As  they  embrace  DICK  enters  L.  1.  Slams  door. 
The  noise  startles  MOLLY,  she  gives  a  low  scream 
and  exits  R.  3,  running.) 

MOLLY.    0-0-0-h ! 

(Exits  K.  3.  BILLY  looks  after  her  and  then  turns 
and  sees  DICK.  Gives  a  start  of  surprise  and 
tries  to  cover  his  confusion  with  talk.) 

BILLY.  Hello,  Dick.  D — you  walk  down  from  col- 
lege? (DiCK  does  not  answer,  but  walks  toward  him 
very  quietly.  Then  BILLY  picks  up  paper  and  shows 
it  to  DICK)  See  your  picture  in  the  paper?  It's 
real  good. 

WARN  CALCIUM. 

DICK,  (taking  paper  from  him)  Come,  Billy, 
I'm  too  old  a  chum  for  that. 

BILLY.  Well  then,  old  man,  give  us  your  fin.  It's 
all  fixed. 

DICK,  (shaking  BILLY'S  left  hand)  Good.  She's 
one  of  the  best  little  women  in  the  world.  (  BILLY 
swells  his  chest  and  says  "  You  bet")  And  she's 
got  one  of  the  best  men. 


90  STRONGHEART. 

BILLY,  (turning  away,  embarrassed)  Oh,  back 
up ! 

DICK.  So  she  has  promised  to  be  your  wife? 

BILLY.  Judas   Iscariot!      I   forgot   to   ask   her. 

(Exits  R.  3  on  the  run.    DICK  watches  him  amazed, 
then  turns  L.  as  TAYLOR  enters.) 

TAYLOR,  (entering  L.  1)  Hello,  Dick.  The  team 
is  here. 

CHANGE  CALCIUM  TO  RED. 

DICK.     Is  Strongheart  with  you? 

TAYLOR.    Yes.     (they  go  up  stage  L.  of  table) 

FRAXK.  (bringing  on  the  team  L.  1)  Sit  down, 
boys,  (he  crosses  to  vpper  R.  c.  Most  of  the  team 
are  more  or  less  battered.  They  are  dressed  with 
great  variety.  Some  of  them  being  well  dressed, 
others  in  sweaters.  They  go  up  to  seats  upper  L.) 

BILLY,  (entering  R.  3,  with  a  broad  grin) 
Hello,  girls ! 

ALL  THE  MEN.     Hello,  Billy,  Howdy. 

BILLY,     (to  FRAXK)     Frank,  it's  all  0.  K. 

FRAXK.    Good  boy. 

(STROXGHEART  enters  L.  1,  as  he  gets  to  L.  c.,  THORXE 
goes  down  to  him  and  speaks.} 

THORXE.  You  won't  give  roe  away?  (STROXG 
crosses  THORXE  to  R.)  You  see  I  was  right,  wasn't 
I? 

STROXG.  (on  THORXE'S  R.)  Yes,  you  were  right. 
(crosses  to  R.  in  front  of  fireplace.  Enter  L.  1  Ross 
supported  by  NASH.  Ross  leads  Siegfried  on  a  leash 
and  is  pretty  drunk.  NASH  takes  him  to  R.  c.,  takes 
off  his  cap,  and  then  crosses  to  L.  c.  and  stands  talk- 
ing to  TAYLOR.  TAYLOR  goes  up  stage  and  crosses 
to  R.,  and  NASH  goes  to  chair  below  L.  1.  NASH 
limps  all  through  this  act) 


STBONGHEABT.  91 

Eoss.  (as  they  enter  and  cross)  I  say,  B-B-Billy, 
you  forgot  your  pup. 

BILLY.  Look  here,  Eoss,  I  thought  I  told  you  to 
stay  in  bed. 

Eoss.  That's  so.  I  must  have  forgotten  it.  I  was 
out  late  last  night  celebrating  victory,  and  I've  got 
a  little  cold. 

BILLY.  You've  been  getting  in  the  way  of  too 
many  "  draughts,"  all  right,  (takes  dog  from  Eoss) 
Come  on,  Siegfried,  come  to  your  mistress,  (exits 
R  3,  with  dog,  and  returns  immediately  and  crosses 
to  the  chair  furthest  up  stage  between  L.  1  and  L.  3. 
TAYLOR  crosses  down  to  Eoss  and  takes  him  across 
the  stage  to  the  seat  next  to  BILLY.  TAYLOR  takes 
down  stage  cJiair) 

FRANK,  (standing  back  of  table)  Will  the  team 
please  come  to  order.  (DiCK  sits  L.  of  table,  THORNE 
n.  MEN  all  get  quiet)  Boys,  this  is  a  very  nasty 
business  and  the  sooner  it's  over  the  better.  You  all 
know  what  happened  yesterday.  What  we  want  to 
find  out  to-day  is  the  name  of  the  man  who  sent 
those  signals  to  Farley. 

THORNE.  Then,  first,  we  must  know  in  whose 
handwriting  the  list  was. 

TAYLOR.    Strongheart's. 

ONE  OF  THE  MEN.     The  Indian's. 

DICK.  No,  boys.  Frank  has  the  list  and  the 
writing's  mine. 

(MEN  all  give  a  start  and  say:  "What!") 

TAYLOR.     I  don't  believe  it,  Dick. 

FRANK.  Yes,  that's  right.  Billy  recognized  it, 
and  so  did  I. 

DICK,  (rising  and  crossing  down  L.  c.,  facing  up 
stage)  I've  tried  to  think  it  out,  boys.  But  I  am  as 
much  in  the  dark  as  you  are.  The  list  is  mine,  and 
I  can't  explain  how  it  came  into  Farley's  hands. 

THORNE.     (rising)     Boys,  in  a  matter  like  this, 


92  STRONGHEART. 

personal  friendship  must  be  sacrificed  to  justice.  If 
Dick  has  no  explanation  to  offer,  there  is  only  one 
thing  for  us  to  do. 

DICK.    I  have  no  explanation. 

SLOWLY  CHANGE  FOOTS. 

THORNE.    Then,  you'll  have  to 

STRONG,     (from  down  in  front  of  fire)     Thome! 

THORNE.  (crossing  down  to  him  quickly}  For 
God's  sake,  Strongheart,  have  you  forgotten  what  he 
said  yesterday  ? 

STRONG.  No.  But  I  had  almost  forgotten  how  the 
son  of  a  chief  must  act.  (crosses  and  hands  tele- 
gram THORNE  wrote  in  3d  act  to  FRANK)  There  is 
the  proof  of  Dick's  innocence. 

(TAYLOR  and  BILLY  cross  and  look  at  it.) 

FRANK,  (as  THORNE  crosses  in  front  of  table) 
What  does  he  mean? 

STRONG.  He  sent  Dick's  list  to  Farley.  (THORNS 
stops  and  turns  to  STRONG) 

ALL  THE  MEN.     (rising)     What?!?    He  did? 

BILLY,  (in  front  of  table  c.)  And  tried  to  throw 
the  blame  on  Dick. 

THORNE.  You  can  get  the  details  from  the  In- 
dian, (starts  to  exit  L.  1) 

TAYLOR,  (blocking  his  way)  Hold  on,  Thorne. 
You  don't  leave  here  until  we've  settled  with  you. 

(All  Men  advance  a  step  threateningly.) 

STRONG.  Wait,  boys.  Remember  he  can  never 
show  his  face  in  college  again.  No  man  will  take  his 
hand.  Let  him  go. 

(Men  step  back  and  THORNE  exits  slowly  L.  1.    When 
he  is  off  all  men  heave  a  sigh  and  go  to  DICK 


STRONGHEART.  93 

and  shake  hands  with  him.    Then  move  back  up 
TAYLOR  crosses  to  R.,  back  of  table.) 


BILLY,  (rushing  to  DICK)  Give  me  your  paw, 
old  man.  I  knew  things  would  come  out  0.  K. 
(crosses  to  c.,  facing  STRONG)  Strongheart,  you're 
a  brick,  (turning  to  team)  Boys,  this  team  owes 
an  apology  to  the  man  who  saved  the  game  by  keep- 
ing Dick  in  it. 

TAYLOR,  (crossing  down  to  STRONG'S  R.)  Sure. 
Chief,  you've  made  us  all  feel  pretty  small.  I'm 
proud  you're  a  Columbia  man.  (crosses  to  L.,  sees 
Ross  asleep  in  chair)  Hold  on,  somebody's  got  to 
take  that  jagged  freshman  home. 

(Men  all  laugh.) 

NASH,     (down  L.)     It's  up  to  you,  Taylor. 

TAYLOR,  (pulling  Ross  out  of  chair.  NASH  helps) 
Come  on,  Fresh.  (NASH  puts  on  Ross's  cap) 

Ross,  (very  maudlin)  Tell  the  ladies  I  regret 
very  much 

TAYLOR.  Oh,  you'll  regret  it  all  right,  (exit  L. 
1.  Men  start  to  follow  TAYLOR  off.  FRANK  stops 
them) 

FRANK.  Hold  on,  boys.  You've  got  to  have  a  bite 
first.  Pile  in  here, 

{Men  all  exit  L.  3,  followed  by  FRANK.    BILLY  exits 
R.  3.) 

DICK,     (crossing  to  STRONG  R.)     Strongheart. 

STRONG.    Well,  Dick. 

DICK.  I  thank  you  for  what  you've  just  done.  I 
was  a  cad  last  night.  I  ask  your  pardon  for  what 
I  said. 

STRONG.    Do  you  take  back  all  you  said,  Dick? 

DICK.  No,  Strongheart,  I  cannot.  It's  not 
jealousy.  Something  stronger  than  you  or  I  has  come 


94  STRONGHEART. 

between  us.  You're  the  finest  man  I  know,  but  we 
cannot  be  friends.  Will  you  take  my  hand?  (offers 
hand) 

STRONG,  (slowly  talcing  his  hand)  Something 
stronger  than  friendship.  Yes.  Good-bye,  Dick. 
(the  two  men  look  into  each  other's  eyes,  then  DICK 
turns  and  exits  slowly  L.  3.  BILLY  enters  R.  3..  and 
watches  DICK  off)  And  I  thought  I  was  one  of 
them.  ( BILLY  crossing  down  to  STRONG'S  L.) 

BILLY.    What's  up  between  you  and  the  boys  ? 

STRONG.  The  knife  of  prejudice  has  cut  the  ties 
of  friendship. 

BILLY.    Is  that  straight? 

STRONG.    Yes- 

BILLY.  Then  I'm  ashamed  of  my  whole  damn 
race,  and  I'll  go  and  tell  'em  so.  (exits  L.  3,  quickly) 

STRONG.  And  one  woman's  love  can  wipe  out  all 
the  injustice. 

BUTLER,  (entering  L.  1)  There  is  someone  here 
asking  for  you,  sir.  He  says  he's  a  messenger  from 
your  people. 

STRONG.    I  will  see  him. 

( BUTLER  exits  L.  1.    DOROTHY  enters  L.  3  as  BUTLER 
exits.) 

STRONG,  (seeing  her  and  crossing  to  c.)  I  have 
come  for  my  answer.  Look  well  into  your  heart  and 
be  sure. 

DOROTHY,  (crossing  down  to  c.)  I  have  looked 
well,  and  I  am  sure.  I  will  go  with  you. 

STRONG.    Is  it  love  or  pity? 

DOROTHY.    It  is  love. 

STRONG.  Then  I  can  forget  everything  else.  My 
life  shall  be  your  life.  Your  people  will  not  take  me, 
then  come  with  me  to  mine.  They  will  worship  you. 
(door  opens  L.  1,  and  BUTLER  enters  folloived  by 
BLACK  EAGLE.  BUTLER  exits  immediately,  closing 
door.  B.  E.  is  an  old  Indian  dressed  in  the  conven- 


STRONGHEART.  95 

tional  blue  sack  suit  and  mocassins.  His  long  black 
hair  falls  under  the  collar  of  his  flannel  shirt.  He 
wears  a  loose,  red  tie,  and  carries  a  broad  brimmed 
felt  hat  in  his  hand.  He  stands  motionless:  STRONG 
sees  him  and  crosses  to  him.  DOROTHY  moves  step 
to  the  R.)  Black  Eagle! 

B.  E.  (raising  his  hand)  Kay-lah-kas-lye,  Soan- 
gataha. 

STRONG.  No,  no.  Speak  English.  I  cannot  think 
in  my  own  tongue. 

B.  E.  They  told  me  I  find  you  here.  I  bring 
message. 

(DOROTHY  starts  to  exit  R.  3.     STRONG  speaks,  and 
she  stops.) 

STRONG.  Do  not  go.  (she  turns  back  and  he  turns 
to  B.  E.)  Speak. 

B.  E.     No.     We  no  have  women  in  our  council. 

STRONG,  (taking  DOROTHY  to  R,  3)  Just  for  a 
moment,  it  will  satisfy  him.  (she  exits,  he  crosses 
backtoB.E.)  Well? 

B.  E.  Old  chief,  your  father,  dead.  (STRONG 
gives  a  start  and  lets  his  head  sink  down)  You 
chief !  (STRONG  raises  his  head  and  folds  his  arms) 
You  go  with  me,  see  Great  Fathei  at  Washington. 
Then  to  our  people. 

STRONG.  I  will  come,  and  not  alone,  (points  R. 
3)  Black  Eagle,  I  love  her.  She  will  come  with 
me. 

B.  E.  Is  there  no  woman  of  our  people  that  you 
want  white  woman? 

STRONG.    This  is  the  woman  I  love. 

B.  E.  No.  She  not  one  of  us.  Can  she  live  in 
our  tepees?  Can  she  eat  what  we  eat?  Can  she 
share  the  life  of  our  people?  No.  She  white  wo- 
man. She  stay  here. 

STRONG.    But  she  will  help  us. 


96  STRONGHEART. 

B.  E.  No.  It  not  good.  She  child  of  white  man. 
Your  people  not  take  her. 

STRONG.  Then  they  are  not  my  people.  If  they 
will  not  honor  the  woman  I  love,  I  will  leave  them. 
(crosses  to  table  in  front  of  chair  L.) 

B.  E.  Where  will  you  go?  (extends  his  arms 
wide,  STRONG  turns  and  looks  at  him  and  then  sinks 
down  in  the  chair,  beaten)  You  leave  them  hut  they 
always  be  your  people.  They  sent  you  to  white  man 
to  learn  his  wisdom. 

STRONG.  And  I  have  only  learned  to  love,  (rises) 
I  cannot  give  up  that  love!  (crosses  down  R.) 

B.  E.  (trying  to  work  on  his  sympathy)  Winter 
snow  soon  be  on  land  of  your  people.  They  poor. 
They  cold. 

STRONG.  Then  let  them  accept  her  who  will  help 
them. 

B.  E.  (his  voice  full  of  hate)  No.  She  white. 
Her  people  make  us  suffer. 

STRONG.  The  white  men  have  been  false  to  me, 
but  I  thought  my  own  would  be  true. 

B.  E.  We  true  to  you  when  we  say  no.  Children 
of  chief  must  not  be —  (STRONG  stops  him  with  a 
gesture)  You  come  with  me.  You  come  alone. 

STRONG,  (crossing  to  him,  making  a  last  stand) 
What  right  have  you 

B.  E.  They  poor.  But  they  pay  for  your  wisdom. 
It  belong  to  them ! 

STRONG.    Then 

WARN  SONG. 

B.  E.    You  must  choose! 

STRONG,  (turning  to  R.  3,  after  a  struggle)  My 
love! 

B.  E.  Your  people.  (STRONG  turns  to  him) 
They  crouch  over  their  fires,  waiting,  waiting. 

(STRONG  struggles  fiercely  within  himself,   crosses 


STRONGHEART.  97 

down  B.  and  finally  turns  to  B.  E.  and  points 
to  the  door.) 

STRONG.    Go !    I  will  come ! 

(BLACK  EAGLE  draws  himself  up  and  exits  L.  1, 
slowly.  DOKOTHY  enters  R.  3  as  B  E.  exits.  She 
comes  down  on  STRONG'S  L.  and  stands  looking 
at  him.  He  raises  his  head.) 

DOROTHY.    I  have  heard. 

(Off  stage  "  Amid  "  starts  as  in  act  1.) 

SONG. 

STRONG.  Then  you  realize  what  it  means?  My 
eyes  have  been  blind  to  all  but  love.  I  saw  only  the 
sunshine,  thought  only  of  happiness.  I  forgot  the 
winter's  cold,  the  squalid  misery  of  my  tribe.  I  could 
not  take  you  to  that,  forgive  me  for  asking  you,  I 
had  no  right  to  think  of  love,  (she  makes  a  move 
towards  him]  I  have  been  dreaming  a  beautiful 
dream,  but  I  am  awake  at  last. 

WARN  CURTAIN. 

DOROTHY.  Whatever  your  life  may  be,  let  me 
share  it,  for  I  love  you. 

STRONG.  And  I  love  you  too  much  to  take  you 
from  your  people  and  lead  you  to  the  hardships  of 
mine. 

DOROTHY.  You  have  made  me  love  you.  You 
cannot  leave  me  now.  You  cannot. 

STRONG.    Oh,  that  my  life  were  mine  to  give  you. 

DOROTHY.    I  give  you  mine.    Take  it. 

STRONG.    I  must  keep  faith  with  them. 

DOROTHY,  (turning  and  sinTcing  in  chair  R.  of 
table)  Oh,  I  need  you  more  than  they. 


98  STRONGHEART. 

STRONG,  (crossing  to  her)  Out  of  their  poverty, 
their  need,  they  have  educated  me  to  be  their  chief. 
No  one  can  take  my  place.  My  life  belongs  to  them 
and  they  demand  it.  I  must  go  back  to  them.  I 
must  go  alone. 

DOROTHY,  (slowly)  And  I  can  only  help  you 
by  giving  you  to  them? 

STRONG.    Yes.    Honor  demands  it. 

DOROTHY,  (rising  slowly  and  moving  to  c.  of 
table.  She  speaks  with  firmness)  Then,  go  to  them. 
You  must  do  your  life  work  alone.  But  always  re- 
member (crosses  to  him)  I  love  you,  I  love  you. 

STRONG.  And  I,  ah,  if  I  told  you  how  I  love  you, 
I  would  not  have  the  strength  to  give  you  up. 

DOROTHY,     (up  to  him)     Strongheart! 

STRONG.  Oh,  my  love,  my  love,  go  to  them  while 
I  have  the  courage  to  do  what  is  right.  It  is  the  law 
of  races. 

DOROTHY.    It  is  a  cruel  law. 

STRONG.  Good-bye,  (she  turns  slowly  toward  L. 
and  starts  to  go.  He  holds  her  hand  as  far  as  he  can 
reach,  and  as  she  gets  by  the  table  she  gives  a  deep 
heart-breaking  sob,  and  then  controlling  herself  goes 
up  to  L.  3.  As  she  reaches  it  he  says)  Good-bye  my 
love,  (she  exits  L.  3,  sobbing) 

STRONG.  (c.  turning  in  front  and  raising  his 
arms  and  face  upwards)  Oh,  great  spirit  of  my 
fathers,  I  call  to  you  for  help,  for  I  am  in  the  midst 
of  a  great  desert,  alone. 

CURTAIN. 


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